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TECH PROFILE
“We went into minute detail with each performer, but these tiny details came together to create a strong production that can compete with much larger-budget shows elsewhere in the world.” Sedat Gündüz, Imagina Productions
reflected. “Instead, we focused our energy – and budget – on the human side of the show, bringing in performers, investing in props, costume, and make-up. We went into minute detail with each performer, but these tiny details came together to create a strong production that can compete with much larger-budget shows elsewhere in the world. It was a big challenge, but we’re pleased with what we achieved.” A wide range of performers were utilised on the show, from gymnasts and ballerinas to modern and traditional dancers, to acrobats. “The show lasted for 10 minutes and there was absolutely no downtime built into that – it hopped from one massive set piece to another,” Evgin recalled, describing the challenge of creating seamless links between scenes. “Transitions were a major challenge as some dancers needed to change costumes, so we had to come up with smart ways of diverting
ME
the audience’s attention for 30 seconds or so when the performers could make a quick exit. I was determined not to waste any time or lose momentum for the show by going to blackout during transitions.” As well as the extensive cast of dancers, gymnasts, and acrobats, Evgin was keen to credit the behind-the-scenes team, including: Choreographer, Ammar Adiloğlu; Assistant Choreographer, Ferhat Güneş; Costume Designer, Tugce Ozocak; Make-up Artist, Burcu Taş; Prop Producer, Kirill Golotsvan; Backstage Manager, Busra Tatar; as well as the Production Team of Eren Aydın, Aykut Aydın, Kemal Özdemir, and Mert Şahin. “Everybody really stepped up to plate and helped add those all-important human touches to the production,” she commented. Of course, the project wasn’t without its fair share of challenges – not least a massive storm the day before the show, which put the whole
production into doubt. “The storm was absolutely crazy – large parts of the stage were blown away and had to be rebuilt on the day of the show,” Astakhov recalled. Evgin added: “It wasn’t at all pleasant and it had a huge effect on the schedule that we had put into place. At one point, we were in a tent with all the dancers and the choreographer, and all we could do was play the music and ask the dancers to raise their hands when it was their cue. The first time we saw the show in full was when it was live in front of the audience.” With the eve of the show a complete washout, it was impossible to do any dress rehearsals or last-minute programming tweaks. “The lack of rehearsals due to the bad weather was incredibly frustrating,” reflected Astakhov. “While others might have to focus on individual details of a production, my job is to have an overview and keep an eye on the overall picture,
