The main elements of Brilliant Stages' construction comprise a main stage with apron and artistic performer staircases, a multi-level band stage backed by a series of nine box lifts, an upper stage with an integral service lift, and a forestage with piano lift, all of which connect to a runway which loops out into the arena to a B-stage.
As usual, Take That are delivering a full-on production, this time with a high degree of theatricality and a large number of performers in support of the main artists. The consequence is a set which demands as much activity below stage as on-stage - a major feature which Brilliant Stages needed to factor into production designer Misty Buckley's multi-level set to provide maximum space below deck in which to house equipment, props, speakers and stage lifts, and to facilitate the access and activities of crew and performers.
The 18m wide x 13m deep x 1.7m high main stage is built on three levels with a 1.8m high downstage edge, a 1.5m high mid-section, and 1.65m rear level band stage with additional drum riser. All stage decking units are fabricated using aluminium extrusion with a birch plywood deck and supported with an aluminium frame and beam assembly.
Access treads, edged with LED lighting for safety, run beneath the upstage section of the runway and lead down to the tech world and backstage areas beneath. Above stage, a pair of ornate, distorted step assemblies, complete with handrails sympathetic to the step design, lead from the main stage up to the stage left and right runways.
The whole set is painted black with an artistic finish executed by long-term Brilliant collaborator, Jacqui Pyle, to Misty Buckley's design which was inspired by The Cabinet of Dr Caligari.
Substage space for equipment, crew access and the integration of sub-bass speakers was included in the construction, and Brilliant built the stage in sections, into which the speakers could be installed in advance and the whole stage rolled into place, with speakers in situ, for speed of assembly and load-out.
A 6m-diameter half-moon centre thrust stage, with piano lift and access steps to the arena floor, extends forward from the main stage. This is also designed with a minimal framework to give maximum space for storage below deck, and includes space for a grand piano and a piano lift onto which the piano can be rolled and raised for quick deployment during the show. The front access steps are fabricated in a similar style to those on the B-stage, and embedded with LED lighting in the treads. The whole stage is edged with front drapes.
"While the set and stage for this project were straight forward - I was especially pleased with the access passageways beneath the stage - the main challenge was the series of box lifts which were quite complex mechanisms," says Mel Welch, Brilliant Stages chief CAD designer.
The front face of each lift is clad with LED video panels, which are revealed as the lift is elevated, for which Brilliant built the interface framework and liaised with fellow contractors to ensure all married up precisely.
The main part of the design for the box lifts was masterminded by Brilliant John Prentice and Tony Bowern, ably assisted by CAD Designer Giorgio Castronouvo. This is the first time this type of telescopic lift has been produced by Brilliant Stages in this format.
Brilliant Stages worked in conjunction with LS-Live's automation department - Harry Heathfield, Mark Jackson and Ashley Phillips - who built the control racks and a motor gear box for the lifts.
"We are very satisfied with the finished set on tour," concludes Tour Production Manager, Chris Vaughan. "The majority of the Bril
