Through three-dimensional sound, delivered via wireless headphones, this one-hour futuristic production transports its audience into the head of an avatar, who is a reluctant hero desperate to stay alive. The story is revealed using a blend of free running and contemporary dance by performers in a fast paced mix of death-defying acrobatics and choreography; all within a 360?purpose built arena. With an overall circumference of 100m, the arena is built with eight identical truss structures that play a crucial role as the key light sources. Positioned directly in the frame of view, each structure serves to bring light to the centre of the dramatic space, adding heat and energising the action.
Lighting any outdoor production comes with its challenges, but lighting designer Jon Clark overcame each one of these with a sophisticated lighting design, which was achieved by senior production electrician Matt O'Leary, assisted by production electricians Alan Fotheringhame and Laurence Russell with production managers Tom Richardson and Ian Moore with support from Stage Electrics. The lighting design fulfilled a number of briefs aesthetically and architecturally, with the intention to provide a strong dynamic structure to the performance arena.
"I was determined to avoid the inherent danger of the lighting feeling too flat, distant and under energised," commented Jon.
Stage Electrics supplied a full production lighting solution featuring Martin MAC Viper Performances housed in waterproof, inflatable domes specifically modified by Stage Electrics. Also supplied were Martin Atomic 3000 Strobes, Par 64's, Chauvet Colorado LED Pars, Showtec LED ARC Bars, Thomas MR16 battens and JEM ZR44 Smoke Machines, along with a complete rigging & power solution.
"The Vipers perform a multitude of tasks, mostly keying in on specific scenes but also delivering beam effects into the audience, the sky and onto surrounding buildings. The Par 64's give a consistent coverage of the entire performance surface and provide a clear key direction of each scene. Using the Chauvet Colorado LED Pars enabled me to colour the entire set from one direction and animate the light around the arena in either direction.
"The Showtec LED Arc bars were used to uplight other scenic elements on the set with a smoke machine rigged on each side of the arena. Each one was set up with a Martin AF-1 fan on a timed cycle throughout the show to maintain constant smoky haze in the air, allowing the circular structure of rigged Pars to hold the space three dimensionally" he continued.
The entire show is MIDI-triggered from Q-Lab software that runs the binaural sound track and is fed to the audience via wireless headphones allowing every cue to be synced absolutely with sound effects on the sound track.
"Our fantastic team did a great job in all kinds of dirty weather especially with the complex task of accurately syncing sound and light to the live action which helped support the immersive nature of the production. It was a huge pleasure to work with the Stage Electrics team led by account manager Mark Burnett. They understood the production from day one and were all hugely supportive throughout the entire process," he finished.
This spectacular performance opened in Bristol as part of MayFest Festival, the city's annual festival of contemporary theatre and is now in London situated on the Southbank behind the National Theatre before it tours at other festivals throughout the summer.
(Jim Evans)
