Marenghi used 23 MAC 700s, eight of which were positioned on the floor, with the rest rigged on the striking above-stage trussing architecture. His new design for the shows was based on the core principals of "absolute synchronicity and sympathy" with the score, and also used over 80 other Martin fixtures including MAC 2K Washes, MAC 600 Washes, and MAC 300 Washes as truss toners. Marenghi comments that the MAC 700s "are incredibly bright. I specified them to be used for powerful profile type effects, which worked extremely well."
The biggest challenge in lighting a show of this nature, he says, is ensuring that the 100-piece orchestra and 90-piece choir are well lit throughout, as well as creating dramatic aerial-based beam effects to punctuate the show. He points out that much of the musical programme was often originally written to be accompanied by firework displays, large military events or grand royal and civic occasions, all with distinct visual elements. They have recreated this visual dimension with lighting for their 21st century audience.
Classical Spectacular lighting equipment was supplied by Stage Electrics and project managed by John Wallace. Marenghi pays tribute to the Stage Electrics system of prepping the Martin equipment, whereby each lamp is tested and chosen for its matching colour temperature, rather than lamp life, giving an excellent uniform white look. The lights were operated by John Sinden using a WholeHog II console. He and Marenghi programmed over 500 cues in WYSIWYG which Marenghi recalled live during the show.
(Lee Baldock)
