The fixtures were rigged on an upstage bar, either side of the centre and used for two distinct and different effects. Firstly as back-light specials, and secondly, with the addition of gobos and crossing to downstage centre, they formed part of a forest break-up look that focussed on a grave.
The MMX Blade units were recommended to Chivers and Jack Williams, chief LX at the Royal Court by Matt Prentice, head of lighting at RADA - after they have been very successfully used on productions there. (Williams is an ex RADA student).
The MMX Blades "ticked all the boxes" says Williams because it is "small, lightweight, very punchy and has great optics and shutters", but most importantly because it's a quiet fixture - and this is absolutely essential for any drama performance.
"Noise is our biggest issue," he explains, which restricts the moving lights that are appropriate for their shows. "It's nice to be able to add the MMX Blades to a very small list," he declares.
The RCT is one of London's most cutting edge production houses, bringing a constant stream of new, experimental and challenging works to the capital.
They don't have any moving lights in house, but will hire units as and when needed and according to a designer's specific wishes.
Adler & Gibb was the first time that Chivers had used the MMX Blades and she was "particularly impressed" by the remote hot spot control.
The MMX Blades - based on Robe's new technology MMX discharge fixture, which is comparable output to 1200W luminaires and with a framing shutter system into the optical path - were used in most scenes on the drama, integrated with some moving spot lights and TV lighting.
(Jim Evans)
