Halpin designed a very symmetrical 'wide look' lighting rig, his colour and movement chases introducing plenty of dynamics. This was juxtaposed with the highly asymmetrical stage set, designed and supplied by Productions North. The rig also had to be adaptable to fit into the non-arena venues on the itinerary. Club-style visual effects and props included a 5ft mirror ball, suspended on a CM Prostar motor which makes spectacular impact, three lightboxes filled with practicals for the 'Ladies Night' section, and a kitsch 6ft high chandelier - also complete with practicals - flown downstage centre.
Three roll-down drapes dropped in for the acoustic section, reducing the space, make it more intimate, and 'Pausing' the show. Lighting wise, he used Martin MAC 2K Profiles and MAC 2K Washes with PC lenses, plus a compliment of MAC 600s with 18° lenses to enhance the clarity and definition of the beams. With a high 35ft trim, it was important to maximise the sharpness and cleanness of the beams.
In addition to those were MAC 500s, a selection of Par 64s and Moles for audience illumination, and three Xenon FOH spots. Halpin operated using a Wholehog II console. The lights were arranged across four trusses, including a small circular truss at the front and a U-shaped truss upstage to bring some form and shaping to the roof. It was the first time Halpin had lit Atomic Kitten since their debut show at Shepherds Bush in 2001. His other recent work includes Christina Aguilera, Darius, Lemar and Westlife.
Atomic Kitten's tour is profiled in-depth in the March issue of Lighting&Sound International magazine.
(Lee Baldock)
