Music Library for the show: https://scenicandlighting.com/SSV-Music/

Sound Effects Library: https://scenicandlighting.com/SSV-Music/sound-effects/

Opening Credits: https://youtu.be/10RhXErezbQ

Groundplans for printing; https://scenicandlighting.com/silverstar-voyages-groundplans/

Camera Plot: ssv-camera-positions

AutoCAD File

Five episodes of Silverstar Voyages are planned for streaming from the Hanaway Theatre at Plymouth State University. Student writing teams will generate episodes to highlight the talent in the program, and also to accommodate potentially changing parameters throughout the semester.

The television mode of performance allows a more appropriate delivery to our audience than live theatre. We have chosen a science-fiction theme for several reasons. It is easy to motivate masks or face-shields for performers, It is easy to include performers entirely over video screens. The nature of a spaceship allows us to lock actors down in assigned places on the bridge, measured to be more than six feet away from each other.

We might receive stricter parameters as the semester goes along, such as no longer being able to gather the ensemble together. We hope to rely on our writers as problem-solvers. Perhaps the away team is scattered all across the planet below, checking in over their communicators to the sole crew member still in orbit. Perhaps the crew has been reduced to piles of glowing power here and there on the ship, and the one surviving crew member must decipher what has happened by replaying pre-recorded personal logs from each crew member on the main screen. Science fiction and original writing allow us the elbow-room to produce the story that fits our changing criteria.

And ultimately, honestly: in theatre, we just don’t get to do enough sci-fi.

These consoles can get fancier controls based on what available resources, time, and circumstances allow us to do.
There is an onstage teleporter (shown) with a rear-projection screen inside of it. Backstage, there is a second teleporter with a camera pointed at it. Actors go behind the onstage teleporter (exiting the stage) and enter the rear of the offstage teleporter. The camera captures them climbing in or out, transferring that image to the projection screen. We can dissolve from an image of an empty transporter tube and back to the live camera feed at any time, with special effects in between

Paint Treatment

The set includes only two colors of paint other than black. There is a pale, muted lavendar, and a dark gray. The rendering below is labelled to distinguish which is which. The white shapes at the tops of the walls are backlit and glow. The various screens shown are combinations of applied printed artwork and possibly some screens.

Furniture

All of this furniture is mounted to the floor and does not move.

These are $114 per pair on Amazon. Adjustable from 24″ to 32″. They will work well both for the foreground consoles which are 36″ high and the upstage consoles, which are 42″ high.
“Vogue Furniture Direct Direct Adjustable Height Swivel”

This is a gaming chair, but it will work well for the captain’s chair. We should replace the wheels with legs (also available on Amazon) or replace the entire base with a pipe and flange. We can add to the arms to make it boxier, possibly with more buttons and controls.

$84.99 on Amazon.

“SMUGCHAIR Racing Gaming Chair Executive Bonded Leather Computer Office Chair with Adjustable Height and Padding Armrest”

These are a simple way to lock the captain’s chair down.
https://www.amazon.com/gp/product/B075P2RGNR/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1

Reatomizer Reclamation Chute

The transporter has been expanded upon. It is now also a molecular fabrication tool. It is now called the Reatomizer.

Included in its features is a reatomizer reclamation chute. This is an opening into which raw materials can be inserted that will be broken down into elements and then reassembled into new things.

The PDF file for this is available here: Trash-Chute.pdf