With a set designed by Mark Fisher and show direction / lighting by Baz Halpin, the show is action packed with visual extravaganza from start to finish. Video was always going to be an integral design component, for which they wanted the contrast of both high and low resolution surfaces.
Upstage, a central section of 7mm F-LED flanked by two Barco MiTrix panels are masked by a scenic interface congruous with the overall edgy, off-kilter, carnival ambience of the set and show. This creates an approximately 40 ft wide by 15ft deep six part surface.
The light weight and high resolution pitch of the F-LED make it an appropriate choice. This is the first show worldwide that the 7mm has been used on. The MiTrix sections are built as 6 x 4 panel frames, specially modified by XL Video to suit the shape of the fascia, complete with a custom cable management system devised to minimise the run distances.
The quintessentially quirky live mix is cut by Richy Parkin, primarily sent to four side screens, but also appearing across the on stage LED at strategic moments.
The account is project managed for XL by Jo Beirne and Phil Mercer, who comments: "It was a very brave decision by Baz Halpin and production manager Richard Young to specify a brand new screen without even seeing the 7mm beforehand, particularly with a schedule as rigorous as this one - not only does it look right for the show, it's also been bombproof."
Playback content was created by Halpin and Olivier Goulet from Canadian company Geodezik. It runs for about 85 per cent of the show and is all programmed into a Catalyst media server running on four layers and triggered by lighting director Trent O'Connor's Martin Maxxys control console. It is treated and masked to fit the six different shaped screens via the Catalyst.
In addition to the onstage screen, XL is supplying four side screens. The two downstage ones measure 16 x 12 ft each and are flown at about 60ft high on their own trusses to cover the upper tiers of the arenas. The other two are flown side stage at 90 degrees to it, covering the ends of the 270 degree format. Each is fed with a Barco R12+ projector.
* UK-based set manufacturers, Brilliant Stages, provided the spectacular staging for the Funhouse tour from the ambitious designs of Mark Fisher of Stufish.
The set is based on a 1930's funfair for which Brilliant Stages constructed a large, rear walkway edged with safety chains. Two metal slides lead from the walkway to the stage, forming a significant part of the choreography for the performers, along with zigzag access steps on either side for which the Brilliant Stages team had to calculate intricate, precise angles and dimensions.
The Funhouse tour continues to Australia from late May through to August before returning to Europe in September and running through until late December.
(Jim Evans)
