Nick Richings created the original lighting design for the show, however lighting operator Simon Deary, who has been with the show since its beginnings, is undertaking the re-lights.
"Working with HSL in this way is just like having a hire company on the tour" explains Deary, "Whatever we might need in terms of repairs, maintenance or spare parts is dealt with quickly and efficiently - mostly within 24 hours. I can't emphasize how vital that is to a show like this - every piece of kit is worked really hard."
The rig is spread across approximately five LX bars at each venue. LX Bar 1 has three Martin MAC 2Ks which are used extensively for onstage gobo and effects work. They are joined by four MAC 500s, four 600s on LX2 plus another four 600s on LX1. Six Martin Pro400 are used to up-light the set 'portals' plus various other colour changing tasks. There's about 150 PARs of various types, eight Thomas 4-cells and seven Coda 1K floods. HSL supplied pin spots which are embedded into the set floor, serving as the jail 'bars' for the Close Every Door number. For specials, there are four Martin Raptor disco effects and three High End Systems Dataflash strobes, two Jem Pro smoke machines, two Unique hazers and two fans. HSL specified and supplied a customized Avolites ART dimmer rack and also designed and built a bespoke mains distros for the tour, Deary is using a Hog 1000 console for control.
When the touring production re-started in 2003, the intention was to give the show a fresh cleaner West End style look - whilst retaining some of the original rock 'n' roll hallmarks of the original rig. (Joseph has now been running over 25 years!) This fuelled the decision to buy an all-new lighting rig. HSL supplied all fixtures to the latest HSE regulations and this is when Richings decided to introduce the MAC 2Ks to emulate the new effects recently introduced to the West End production.
On tour, the MAC 2Ks also replace much of the work that would have been undertaken by follow spots a few years ago. "The support really has been outstanding" Deary enthuses, "Apart from the superb, competent and practical technical back up, HSL is also a very friendly and approachable company. You can get through to the person you need to deal with directly without enduring endless layers of phone holding."
The productions uses a Martin/Yamaha PM1D audio rig which was purchased from Orbital Sound, FOH engineer is Gavin Ellis and Jon Miller designed the sound.
(Sarah Rushton-Read)
