The free events took place on and around the Pierhead area of downtown Liverpool, and were part of a lively programme of public shows and installations staged throughout the summer for the enjoyment of all
Staged in Salthouse Quay and directed by Mark Murphy, A Wave at Picasso was inspired by the Picasso: Peace and Freedom' exhibition. The 'Wave' was an eclectic and imaginative combination of canoeists, co-ordinated swimmers and dancing boats, together with fire performers, pyrotechnics, sound and projections, all choreographed into a daring mixed media performance, merged with other special effects to bring the dock alive in a blaze of colour and movement, accompanied by specially composed music.
Stephen Page from DBN was asked to create a lighting design for the show which incorporated illumination of the docks and the surrounding environmental elements like jetties, as well as lighting the performers on the water - with the audience viewing from around three sides.
He says, "Walk the Plank shows are always interesting, varied, experimental and fun, and often in great site specific locations. One of the many physical challenges of this one was that there were no rigging points for lighting."
This meant all the lighting kit had to be positioned around the dock - a large area measuring over a kilometre all the way around - in a very narrow space between the crowd barriers and the dock wall.
The whole area was washed in a selection of colours from 25 x 2.5K Studio Due CityColor wash fixtures placed equidistantly around the dock.
It was also the first gig for DBN's new Clay Paky Alpha Beam 700s, which were also positioned around the dock and used for highlighting certain areas and for special effects. Their extremely bright beams cut decisively into the night sky and they are also impressively bright enough to register in daylight.
DBN also installed a selection of LED fixtures including i-Pix BB4s, SGM PALCOs and Studio Due Archileds, all of which were used for highlighting the performance areas and for special effects.
Taking place a few weeks later, Dance on The Waterfront involved DBN supplying lighting for the River Stage and the Voala Stage for the three-day event, which consisted of multiple and accessible performances at several outdoor venues by an array of international and local artists.
The Voala Stage was hosted by the Argentinean aerial artists of the same name, who performed their dramatic, breath-taking show partly on the stage as well as elevated 100 ft up in the air, suspended from a crane.
The lighting equipment was specified by their LD Franco Bongioanni and co-ordinated for DBN by Nick Walton.
To catch the performers whilst airborne, four Vision 1200W HMI follow spots were positioned on custom platforms built by Star Events. These were located after careful calculation of the positioning of the performers, the throw distance and their brightness over its trajectory as well as the impact of the beams on the aerialists' ability to work.
Between the Voala stage and the River Stage, over 100 generic lights were supplied by DBN - a mix of PARs, fresnels and profiles, plus some ARRI 2Ks for white light.
The River Stage's main lighting design was based around an electric costume and lightshow contemporary dance performance by Ziya Azazi from Turkey. For the other acts appearing on this stage, Nick Walton designed a house rig, designed to work in daylight and dusk as well as after dark, which included Clay Paky Alpha Wash 575 and Clay Paky 700 beams moving light fixtures.
The control desks were a Jands 24:48 for Voala and an Avolites Pearl for the River Stage, and DBN supplied four crew for the rig and de-rig periods with
