The diversity of presentations was a prime consideration in the theatre's redesign and renovation. The stage was designed as a flexible, movable structure that is capable of adjusting to various models, depending on the production needs. The theatre seats just over 1,100, with slightly more than 700 seated on the orchestra level and an additional 400 in the balcony.
Osaka-based Native Audio Company provided the audio system, which is based around eight M1D ultra-compact curvilinear array loudspeakers suspended at the centre of the proscenium and two CQ-2 narrow coverage main loudspeakers hung at either side of it. Low-frequency content is amply covered by a pair of floor-standing 700-HP ultra-high-power subwoofers. Two more CQ-2 cabinets are positioned atop each subwoofer. The system is designed to be flexible, so the groundstacked CQ-2 units might sometimes be used to keep localisation of voices at stage level and other times serve as frontfill.
The main M1D/CQ-2 rig is augmented with a smaller system comprising four flown UPA-2P compact narrow coverage loudspeakers, as well as two UPA-1P compact wide coverage loudspeakers on stands. The UPA-1P units are designed for easy mobility, so that they can be placed in any of several locations as needed.
A 48-channel Yamaha PM4000 console handles the front-of-house mix, with effects processing provided by Yamaha and TC Electronic reverbs and delays. System equalization is focused around two Meyer Sound CP-10 complementary phase parametric EQs. A selection of Ramsa wireless microphones, as well as wired mics from Shure, AKG and Sennheiser complete the audio chain.
(Chris Henry)
