Kave project manager Dave Singleton created a dynamic design utilising the company's Alistage Staging System. The visible set frontage was covered with Pulsar Chroma Panels with Thomas Pixelline 1044 battens placed in between them and lined with several strips of Colour Kinetics I-cove.
The client had a requirement for large staircases that could be moved on and off with relative ease. The solution was to once again use the company's Alistage products which produced a lightweight, easy to manoeuvre end result. Each tread was then lined with Pulsar X1TC strips for that extra edge. For extra effect during one of the numbers Dave flew Pulsar Chroma Spheres, 8 50cm mirror balls and a 1m mirror ball.
The over head rig consisted of 34 Martin Mac 600s, 16 Martin Mac 700s as well as assorted generic lanterns. Dave then placed a mixture of the new Martin Mac III fixtures, Martin Mac 2000 Profiles, GLP Impressions, Martin Atomic Strobes fitted with Atomic Colours, Clay Paky Stage Colour 300s, Clay Paky Alpha Beam 300s, generic lanterns, and more Colour Kinetics I-cove strips around the set and stage floor. At front of house Dave placed a variety of Martin Mac 575 Kryptons, Martin Mac 250 washes and Pulsar Chroma Cans (PAR 36).
The end result was an incredibly visually stimulating, effective design. The whole rig was programmed and operated by freelance LD Simon Horn on his Chamsys MagicQ MQ200 console and Capture. A complex control system using Artnet & Wireless DMX distributed all the data to the various points required. Simon used the on-board Media Engine of the MagicQ and mapped the whole rig to allow him to create some very unique effects with relative ease.
Dave comments: "I designed the rig with the intension of being able to generate some very traditional looks common in lighting dance but also to supply the wow-factor when required. As the show was filmed I really wanted to achieve looks that reflected the energy of the dance company both on and off camera. To give it the edge on film I specified a number of the fixtures in Chrome."
He goes on to comment: "Simon deserves a lot of credit for having the whole show programmed and ready within the three day plotting window especially looking as good as it did, the MagicQ made the whole process simple and go without a hitch".
As the show revolved heavily around a movie theme there was a requirement for different types of media to be used throughout. Dave specified 3 3m x 2m screens made from Martin LC Panels, which were controlled by Martin's Maxedia Media Server.
The backdrop was made up of a 40sq.m Chroma Q Colourweb 250mm flown in front of a Pealight Star cloth (this was also used the legs). The web was controlled by Hippotiser V3 Media Server. Dave also used a Sanyo XP57 Projector, driven by Arkaos for most of the content created by Ben Lawrence of BCL Technical Ltd. The whole AV system was operated by Kave's Chris Childs.
The sound design was created by freelance designer Ed Borgnis who also operated the system. Due to the fact there was a live band, Ed specified an LCR system using Kave's d&b stock. The rig consisting of left and right hangs of 1 Q-sub, 3 Q1 and a Q7 down fill, and a centre hang of 3 Q1 and a Q7 down fill with 6 E3s for infill. The whole system was powered by D12 amplifiers. Ed specified a Midas Heritage 1000 48ch console for FOH.
In the pit a vast selection of microphones were used with the band and singers on a mixture of Headphones and d&b Max monitors. Monitor Engineer Matt Carrig specified a Yamaha PM5D console, which took control of the pit and all on stage monitors. For the singin
