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Universal Arts' Clients/Venezuela Viva

www.venezuelaviva.com

“Venezuela Viva”

“Riverdance  from  Latin  America  – and  therefore  much  sexier. A magnificent dance show that can’t fail to entertain.”
THE SCOTSMAN *****

A vibrant, colourful musical extravaganza with spectacular dance numbers, fabulous costumes and sensational Caribbean and South American rhythms. 15 gorgeous dancers and a 11-piece band create a spectacle bursting with tropical energy and flamenco passion.
It is a choreographic fantasy based on flamenco mixed with Moorish rhythms, Venezuelan joropo, energetic zapateos, Afro-Venezuelan tambor and Caribbean salsa.  It tells the story of origin, history and contemporary life of Venezuela.  Like the choreography, the music is complex and composed especially for the show. From Arab origins and medieval and classic components Venezuelan music acknowledges African influences and indigenous elements to create a unique sound full of folklore with  intricate and fascinating rhythms.

What the Press says…

Terrific dancers appear at breathtaking speed in a sequence of sensational costumes. Venezuela Viva is pretty much Riverdance from Latin America (and therefore much sexier) and is intended to sell Venezuela much the way Flatley sold Ireland.  It is a fabulous show.
THE HERALD - Arts Editor’s Festival Diary

An extravaganza of dance and passion makes for probably the most exciting history lesson you’ll ever experience. They information they impart gives context to the movement and an insight into this fascinating country. A magnificent dance show that can’t fail to entertain.
THE SCOTSMAN

Vivid choreography, danced with grace and exuberance … you just want to jump on the next plane to Venezuela.
THE INDEPENDENT

A stunning group of dancers and musicians. If only all history lessons were this interesting. Truly a spectacle.
THE LIST

In many ways this is a Venezuelan Riverdance, complete with booming voice-over and dancers who personify strands of culture to relay the story of a unique people.  A great big tropical burst of colour and energy guaranteed to put a smile on the most sombre Festival face.
SUNDAY HERALD

More sequins and floral garlands than a Mardi Gras float … topped with a Caribbean shimmy. It’s one big party.
THE GUARDIAN

Twelve Latin lovelies and a tight band deliver a hip-shimmying history lesson with sequins on top.
SUNDAY HERALD’S Critics’ Choice 

The 5th best selling show out of 1800 at the Edinburgh Festival Fringe
METRO

AUDIENCE PROFILE
The show is aimed at a family theatre market and this has been borne out by the audience profile of over 8000 ticket buyers at the Edinburgh Festival Fringe.  While dance in essence, this production is a musical in its delivery. This means that it caters to a broad range of audience from teenagers to classic dance lovers.

Individual company members could be also available to give dance or music workshops to either school or adult education groups.

STYLE
It is a vibrant and colourful musical extravaganza with spectacular dance numbers, fabulous costumes and sensational Caribbean and South American rhythms. 12 gorgeous dancing girls and an 11-piece band creating a spectacle bursting with tropical energy and flamenco passion.

Venezuela Viva! is a choreographic fantasy based on flamenco mixed with Moorish rhythms, Venezuelan joropo, energetic zapateos, Afro-Venezuelan tambor and Caribbean salsa.  It tells the story of the origins, history and contemporary life of Venezuela.

Venezuela is the only country in South America in which flamenco took root. It assimilated elements from Andalusian, African and indigenous cultures to become a new form of flamenco and truly Venezuelan.

Like the choreography, the music is complex and composed especially for the show. From Arab origins and medieval and classic components Venezuelan music acknowledges African influences and indigenous elements to create a unique sound full of folklore with  intricate and fascinating rhythms.  Harp, maracas, violin, keyboards, voice, quarto, bandola, flamenco box and drums combine ingeniously to create a seductive fusion of beats.

SYNOPSIS
Venezuela Viva tells the story, expressed through a dance fantasy based on flamenco principals, of the origin and evolution of a culture inspired by Arab, Spanish, Native Indians and African Slaves influences.

  1. VENEZUELA: LAND OF ENCOUNTERS
    Opening
  2. SEVILLE, SPAIN – COURT OF QUEEN ISABEL THE CATHOLIC
    By the end of the 15th century Seville has become the main court of the Catholic rulers of
    Spain, Isabel and Ferdinand, who continue the Christian re-conquest of Southern Spain.
  3. THE LAST MOORISH DANCE
    700 years of enlightened Moorish rule which had led to a harmonious multi-cultural and
    multi-religious co-existence is coming to an end. Some Moors were forced to accept new
    rulers and to adjust to a life as lower class citizens.
  4. WHEEL OF FORTUNE – RE-CONQUEST
    In 1492 following the Siege of Grenada, the Moorish King Boabdil is expelled from
    Spain along with all Arabs and Jews who refused to convert to Christianity.
  5. DREAMING OF PARADISE
    The Re-conquest prompts Spain to look beyond its boundaries. It is a time of maritime
    exploration.  The dream foretells of untold riches waiting to be found.
  6. JOURNEY INTO THE UNKNOWN
    Using the gold seized from the Moors and other ‘heretics’ Queen Isabel finances Columbus’ 
    exploration to find a westward route to India. The unintended discoveries led to Seville
    becoming a major commercial centre for the next two hundred years.
  7. TERRA INCOGNITA
    The first inhabitants of Venezuela can be traced back to c10,000BC. The earliest known
    tribes are Arawaks and Caribs, brave and fearless people, commanded by their
    courageous "caciques" (chiefs).
  8. THE CONQUERING STORM
    In 1498 during his third voyage, Columbus steps on the South American continent near
    The mouth of the Orinoco River. The following year Amerigo Vespucci arrives and seeing
    a native village built above the water on stilts calls it Little Venice (Venezuela); the name
    held.  For the next two hundred years the Spanish exploit the natural resources and
    search in vain or Eldorado. They spread the doctrine of their Catholic monarch with
    missionary zeal.
  9. AFRICAN ROOTS
    The Spanish transport slaves from Sub-Saharan Africa to the Americas.  In the centuries
    to come many escape or are freed and build their own villages along the Caribbean coast.
  10. MIRROR OF RACES
    The uneasy parallel lives of the three races eventually begin to merge leading to a
    Peaceful co-existence.
  11. NIGHT OF THE HARVEST
    From the rich and disparate cultures of three races an identifiable new culture emerges
    and a nation is born.
  12. RORAIMA – THE ROCKS
    The people of Venezuela are as strong as the rocks of the Tepui – the table-topped
    mountains that pre-date America itself.
  13. TORRENT AND FOAM
    From the Tepuis’ waterfalls and the immense strength of the Orinoco to the tranquillity of
    ‘Los Llanos’ (the plains), water is both a life-giving and life-taking power.
  14. ROMANCE ON THE PLAINS
    The great waters reach Los Llanos creating a fertile and productive base for the new
    nation.
  15. AN ANDALUSIAN AND A PLAINSMAN
    The old and new nations praise the beauty, glory and history of their origins using a
    classic style of singing known as ‘contrapunteo’.
  16. EMERGING IDENTITY
    The new nation is ready to break free from its Spanish motherland but the ties to Spain
    are knotted tightly.
  17. CARACAS
    The War of Independence saw huge bloodshed on both sides but from it emerged a truly
    autonomous Venezuela.
  18. URBAN FEELING
    Drawing on Jazz and Caribbean rhythms, the energy and dynamics of city life gave birth
    to Salsa.
  19. VENEZUELA VIVA
    Finale

TECHNICAL RIDER FOR VENEZUELA VIVA
The show is produced in two versions to suit different stage sizes.

I. GENERAL INFORMATION:

  1. Show length: 1 hour 40 minutes (plus 20 minute interval)
  2. Set-up: 10 hours fit-up time before curtain up.
  3. Lighting desk and video control must be placed next to each other where possible.
  4. Control Sound desk must be placed approx. in central position in the audience zone
  5. The company requires 2 local female dressers with good command of Spanish language. Alternatively another 2 people should be added to the company coming from Caracas.

The company consists of 37 people: 26 artistic and 11 managerial and technical staff.

A. Version with live musicians on stage
  • 15 Dancers
  • 9 Musicians
  • 8 Technical / Stage crew
  • 1 Choreographer / Artistic Director
  • 1 Tour Manager
  • 1 Producer
  • 35 people in the touring company
B. Version without musicians
  • 15 Dancers
  • 8 Technical / Stage crew
  • 1 Choreographer / Artistic Director
  • 1 Tour Manager
  • 1 Producer
  • 26 people in the touring company

In both cases the Director and a Universal Arts representative will be required to attend the rehearsals period and the first two performance days.

 

II. TRANSPORTATION AND ACCOMMODATION and PER DIEMS

  1. 34 (with musicians) or 25 (without musicians) air tickets from Caracas – destination – Caracas
  2. If 2 dressers cannot be engaged locally an additional 2 people should be added to the company coming from Caracas.
  3. 3 air tickets from Edinburgh – destination – Edinburgh, Scotland, UK.
    The company is working with the Venezuelan government to achieve 50% subsidy for travel.
  4. Hotel accommodation – minimum 3 star and Bed and Breakfast basis
  5. A. Version with live musicians on stage

    1. preferable (and essential for engagement lasting more than 1 week)
      1. 5 doubles
      2. 27 singles
    2. for 1 week or less of engagement
      1. 5 doubles
      2. 10 twins
      3. 7 singles

    B. Version without musicians

    1. preferable (and essential for engagement lasting more than 1 week)
      1. 5 doubles
      2. 18 singles
    2. for 1 week or less of engagement
      1. 5 doubles
      2. 5 twins
      3. 8 single
  6. Per diems for 37 people (39 if required to bring 2 extra dressers) calculated from the day they leave their own countries until their return.  The amount per day should follow the British Council recommendations.

The company is working with the Venezuelan government to achieve 50% subsidy for per diems.

If the engagement requires change of base 2 local female dressers should be added to the transport, accommodation and per diem element of the rider.

 

III. EQUIPMENT TRANSPORTATION

  1. From Venezuela by air:
    • Drums: 5-piece standard kit with hardware; 120cm x 120cm x 100cm;
      approx. 80 Kg – or could be supplied by venue / promoter
    • Set of Congas: 2 Congas plus Bongos, stands, and other percussion elements, 100cm x 100cm x 100cm, approx.
      80 Kg– or could be provided by venue / promoter
    • Afro-Venezuelan percussion: 5 drums different sizes, 100cm x 100cm x 100cm, approx 50 Kg
    • 2 Keyboards: Larger 120cm x 40cm x 20cm approx 70 Kg; smaller 80cm x 40cm x 20cm approx 30 Kg – or could be provided by venue / promoter
    • 100 Costumes: 250 Kg approx
    • Miscellaneous  – 50 Kg

    Total chargeable freight weight: 850 Kg approx.

  2. From Scotland - if destination in Europe by road transport:
    • Flamenco dance floor – 18 pieces of 244cm (L) x 122cm (W) x 6.5cm (H) total weight 1000 kg approx
    • Steps – collapsed size for transportation 280cm (L) x 125cm (W) x 100cm (H) total weight 250 kg approx
    • Throne: 160cm x 50cm x 50cm approx 3 Kg
    • Projection screen - folded pack 100cm (L) x 50cm (W) x 50cm (H) 5 kg approx

    If preferred, instead of transporting those items from Scotland a receiving venue or promoter could build items to the specification of the company.

 

IV. STAGE:

  1. Performing area
    1. ideal stage size for the full effect is 10m x 12m with 8m clearance to the grid or 7m to the lowest light.  It is preferable to be a little higher as the band is raised. Behind the set communication path of minimum 1.5m width is essential
    2. for the version without live musicians on stage the performing area could be reduced to a minimum size 10m x 10m
  2. Curtain legs and borders (full measurements to be supplied with plan).
    1. Openable front curtain
    2. legs (black)
      • First set parallel with front of dance floor (where no front curtain; 11m opening)
      • Second set one third way between front of dance floor and front of musicians platform (10.5m opening)
      • Third set two thirds between between front of dance floor and front of musicians platform (10.5m opening)
      • Fourth set parallel with front of musicians platform (9.76m opening)
      • Fifth set parallel with front of higher section of musicians platform (9.76m opening)
      • Final set parallel with back of high platform and to extend behind platform (2m) to frame screen (4.88m opening).
    3. Border in front of each set of legs.  Furthest upstage border for screen surround must be at least 3m tall. 
  3. Passages, wing spaces and back stage
    1. Safely lit communication around rear of screen (minimum 1.5m wide)
    2. Minimum 2m wing space from off-stage edge of legs
    3. 2 immediate quick-change areas (either side of the stage) with hanging rails for costumes and prop tables illuminated with blue lights
  4. Set elements to be provided by the promoter

 

A. Version with live musicians on stage

  1. Platform located in front of the screen made up of row of 4 x 8’x4’ aluminium stage decks w/ black painted top (9760x1220x1220mm)
  2. 2 x Musician platforms (multiply list here by 2);
    • Top platform made up of 2 x 8’x4’ aluminium stage decks w/ black painted top and handrail around back and sides at 3m high (2440 x 2440 x 3000mm)
    • Lower platform made up of 2 x 8’x4’ aluminium stage decks w/ black painted top and handrail on off-stage side at 2m high (2440 x 2440 x 2000mm)
    • Mid platform made up of 1 x 4’x4’ aluminium stage deck w/ black painted top placed on lower platform at 500mm high (1220 x 1220 x 500mm)
  3. Get-off treads from rear platform to stage (0 – 1220mm) 1220mm wide
  4. Get-off treads from lower musicians platforms to stage (0 – 2000mm) 1220mm wide

B. Version without musicians

  1. Platform located in front of the screen made up of row of 4 x 8’x4’ aluminium stage decks w/ black painted top (9760x1220x1220mm)

V. EQUIPMENT TO BE PROVIDED BY THE PROMOTER

  1. Sound
  2. A. Version with live musicians on stage

    1. FOH: 48 channels, Yamaha PM5D-RH
    2. CD Player x 2
    3. MD Recorder x 1
    4. Monitors:
      • 1 Wedge
      • 2 Side Fill (3ways) (Fly System - 3m/10ft)
      • Adamson: Wedges M15, Side Fill (SX18 + B118) x 2 per side
      • EAW: Wedges SM500iv, Side Fill (LA325 + LA118z) x 2 per side
    5. Bass Amp (Hartke Kickback 15)
    6. Microphones, DI and stands: (see Excel sheets attached to this rider)
    7. All cable and multicore as required
    8. 5 Intercoms (1 FOH Operator, 1 Monitors operator, 1 Stage Management, 1 LX Operator, 1 Technical Manager)
    9. Transformer to 120w for 2 x Keyboards and 1 x Headphones amp

    B. Version without musicians

    TO BE CONFIRMED

  3. Lighting
    • ETC CONGO LIGHTING CONSOLE c/w 3 Flat-screen Monitors
      DMX line #1 to stage (5 pin)
      DMX line #2 to house dimmers, max 100 (5 pin)
      Moving Light: the show is now plotted using the following, or suitable alternatives
    • 4 x ROBE 1200AT (which require gobos provided by VV)
    • 4 x ROBE 575 AT (which require gobos provided by VV)
    • 4 x ROBE 575 Wash (SGM 600 wash preferable)
      Generic Lanterns
    • 2 x Source 4 19 degree lens tube, rear bar
    • 2 x Source 4 19 degree lens tube, cyc bar
    • 4 x Source 4 19 degree lens tube c/w floor stand, in front of proscenium
    • 4 x Source 4 36 degree lens tube, FOH booms
    • 4 x PAR64 CP61, FOH booms (filter to be advised)
    • 12 x PAR64 CP61 (4 x rear bar with Lee 183, 4 x LEE 126, 4no. LEE 021)
    • 6 x 1kw PC with barndoors (LEE 076 Just Blue for backlight)
    • 4 x 1kw PC/Fresnel with barndoors (band lighting)
    • 4 x On-stage side booms, 4m high, each with 3 x PAR64 CP60 all with Hampshire Frost and other filter to be advised (note: S4’s 19 or 26 would be preferable here to provide tight sidelight but this will add an extra 20 minutes for focus)
    • 2 x DMX Haze Machine c/w Fans (air conditioning system on-stage to be reduced where possible)
    • 1 x DMX Splitter Unit (to 5 pin DMX)
    • Control and Power cable as required
    • All colour (colour refs to be provided by company)

  4. Video Projection
    • Video projector - 10.000 Lumens (Lens to be agreed according to individual theatre sizes) for front projection c/w cradle and rigging to hang from on-stage bar.
    • Professional DVD player with display for timer, chapter number etc.
    • vision mixer with minimum 2 in and 2 out ports for fading in and out device
    • 2 x video monitors with in and out ports

  5. Other Essential Equipment for the version with live musician on stages
    • 12 x black chairs for musicians (or all same colour if black not available)
    • 11 x music stands (each with dimmable lights on one in-house dimmer circuit)

 

VI.    BACK STAGE FACILITIES AND HOSPITALITY

  1. Dressing Rooms
    • female – 15 seating positions with well illuminated mirrors and socket access and hanging structure for 100 costumes
    • male for the version with live musicians on stage – 9 seating positions with mirrors and hanging structure for 9 costumes
    • bathrooms with showers
  2. Hospitality
    • per person per show
      • 1 litre of still mineral water
      • 1 can of Gatorade
      • 1 can of Red Bull
      • 1 bar of plain chocolate (50g) or other energy bars
Technical Manager contact details: 
Sound - Mr Rafael Naranjo email: z01rafael@gmail.com
Lighting - Mr Anthony Newton email: tony@anthonynewton.net
     
Universal Arts Ltd. 12 Edina Place, Edinburgh, EH7 5RP, Scotland, UK
contact: admin@universal-arts.co.uk | tel: +44 (0)131 478 0195
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