The show, produced by Phil McIntyre Entertainments, is a mix of comedy and music which, lighting wise, had all the requirements of rock 'n' roll with a bit of camp and a generous scoop of theatre.
It is Ollandini's second Boosh tour. He was left to his own creative devices to come up with a flexible rig that fitted in around the centre-stage set, built on a revolve with set dressing one side and musicians on the reverse.
He chose an all moving light rig because parts of the show were still "work in progress" and constantly changing when they first hit the road, so he needed complete adaptability to go with the flow and modify lighting at any point.
The front truss contains five ColorSpot 2500E ATs and four ColorWash 2500E ATs and is rigged at least 5m from front-of-stage where possible. For the start of the tour (in smaller venues) they used Robe 700 fixtures on this truss - supplied along with all the rest of the lighting by Sonalyst.
Ollandini remarks that the transition from the 700s to the 2500s was totally seamless, and he had to do very little retouching to the cues already in the desk with the new fixtures onboard.
Behind the front tabs is a 40ft wide by 18 deep box truss with four 4ft long under-hung truss sections, the two rear ones dropping down 6ft, and in front of them, a pair dropping down 4ft either side of stage. All four sections each have a ColorSpot and a ColorWash 2500 rigged on them for side lighting.
On the back rail of the box are another 10 2500s - six ColorSpots and six ColorWashes. The box truss also houses the show's three projectors supplied by XL Video, and upstage of this is a drapes truss, containing a white cyc and a full set of blacks.
All lighting is programmed onto a Road Hog Full Boar console which Ollandini uses to operate the show, and this triggers another Full Boar running the Catalyst digital media server, programmed up with all the video cues.
(Jim Evans)
