The show was first staged in Australia two years ago, with a further production in Germany last year. The film was named one of the most popular of all time and London's Aldwych Theatre is seeing a replication of that popularity for the stage show, a fact that is being born out by an estimated £30 million of forward sales.
The team that is now in place is second to none, and claims amongst its credits a sound design by Bobby Aitken, at whose behest the D5T12 exists - the new console is hybrid of the D5T digital theatre mixing system, but with an additional four faders, taking the number to 12, rather than the standard eight and providing more DCA control within the standard console surface and footprint.
The show features a lot of original music, plus a considerable amount of sound and surround effects which required labour intensive programming. "A lot of listening and re-balancing," says Aitken. More than six weeks in total, made necessary because the subtle changes the actors make during rehearsal cannot automatically work their way into the console's programme. "We had to continuously update," he adds. "But now that the show has opened, to a large extent the cast has to lock itself in to what we are doing, which has been a challenge for them."
Approximately 120 of the console's 160 inputs are in use, plus 28 matrix outs and around 16 auxes. "There's a lot of information coming into and out of the desk," adds Simon King, the console's operator on a day-to-day basis. "We're using its programmability pretty much to the max when you add in the masters and relatives. It's quite intense."
A Soundtracs DS-00 also sits behind the scenes, and as part of its duties provides monitor mixes and reverbs. "The band monitor with Formula Sound Q18s on mixes that originated from the DS-00, which is something I've been doing for a little while," adds Aitken.As with the majority of productions where a digital console is used, the benefits are further reaching than the number of inputs and outputs available. "We have a lot less outboard equipment here than we would ever have dreamed of four or five years ago, because we rely so heavily on the DiGiCo now," says Aitken.
But perhaps as significant as its capacity and technical capabilities is the D5T12's financial benefit to the production. "The extra four faders mean we can dispense with the TC module and reduces the footprint at front of house," concludes Aitken. "Every seat left in means another that can be sold. And with some costing £70 a performance. And that amounts to a substantial amount of extra revenue!"
(Chris Henry)
