Beyond Sound & Lighting from Newcastle provided Event Lighting PAR12x12’s for the Seussical Musical 2017 held at Avondale School (Preschool to Year 12), who “creatively brought to life all of our favourite Dr. Seuss characters, including Horton the Elephant, The Cat in the Hat, Gertrude McFuzz, lazy Mayzie and a little boy with a big imagination – Jojo”.
Sceptrons for Vera Blue
Posted on Thursday, August 17th, 2017
Australian songstress Vera Blue is spending the winter months touring the country. Her ‘Mended Tour’ is lit by Matt Smith of Colourblind who uses twelve 1 metre length Martin Professional Sceptrons to stunning effect. Also in Matt’s rig are sic MAC Auras and five Atomics with control by an MA Lighting International MA2 light.
“We were after a cost effective yet high impact look on Vera Blue’s first album tour and Sceptron has delivered that,” said Matt. “It’s ease of set up and saturated colours coupled with it’s integration with our media systems has made it a very desirable product for us for many shows to come.”
? Alex Waugh
CCP deliver the visuals for Jerry Seinfeld in Perth
Posted on Monday, August 14th, 2017
The amazingly funny Jerry Seinfeld entertained a sell out crowd at Perth Arena. The Arena was at full capacity with every seat sold to excited punters looking forward to hearing the very funny Jerry Seinfeld deliver his signature wit and humour.
CCP were onsite to deliver the complexities of creating a theatre setting withing the volumous Perth Arena with a complex rigging and draping system to ensure Mr Seinfeld felt as comfortable as possible on stage.
CCP also supplied the lighting system which was designed for theatre house rigs, working with LD Jeff Pavey on upgrading the system to reduce the labour requirements with such a specific focus needed.
CCP supplied 11 x High End Solaspots as the work horse keylights and 21 x Ayrton Nandobeam S6 washlights as the general wash and fill as well as covering the drape wash looks. Control was from a High End Systems Road Hog Full Boar console.
Video was also supplied by CCP with two 7m x 4m Dicolor 4.8mm M+ Series LED screens and IMAG package.
Dave Hendy was the TD and even with the very simple but specific brief was punching the buttons on our Ross Video Carbonite switcher in between chuckles.
In all it was a challenging but immensely fun show to work on and all crew had sore ribs by the end of Jerry’s set.
CCP Crew: Sean McKernan, Lee Gillis, Josh Walther, Jake Batten, Martin McKinney
Midnight Oil: the early shows with Bazz Barrett
Posted on Thursday, August 10th, 2017
Back in April / May of 2017, Anthony ‘Bazz’ Barrett had the pleasured privilege of doing a handful of the Midnight Oils shows that kick-started off their world tour. Starting with some secret shows and a mighty return to Selina’s in Coogee Bay, a five-city tour of Brazil followed.
Steve Granville is the lighting designer for the world tour but fortunately for Bazz, he wasn’t able to do the beginning of the run so Bazz was asked to design and tour those early shows.
“It turned out to be a wonderful experience,” said Bazz. “Stepping back into Selina’s for the first time in 20 years, I had a strong almost physical reaction thinking back to the memorable and sometimes barely memorable shows I’d done there in the past: Lime Spiders, Rat Cat, Ramones, You Am I, Mud Honey, Buzzcocks, Nirvana, Falling Joys, Huxton Creepers. And now to be doing the legendary Oils …. It was all too good!”
At Selina’s, Bazz needed to keep the rig as simple and compact as possible because space was tight on stage. He went for a combination of his current favourite fixtures including 17 x Claypaky B-EYE K20, 16 x Martin MAC101, 12 x MAC Aura XB, 6 x Atomic LED and 28 x Sunstrips.
“I squeezed as many units onto a ground supported back truss as possible and used the balconies on the sides to do all the band wash,” explained Bazz. “I placed a B-EYE with a Sunstrip on any part of the floor not occupied with stage gear. The result was great. I had light sources coming from all points of the stage and the band were lit clearly and comfortably.”
Bazz’s Chamsys control system allowed him to program the songs likely to be in the set. Luckily Pete had let him know what songs might be played. The Oils have a song pool of over 140 songs, any of which could be played on any given night, so some fast programming is required.
“I used the Sunstrips as the main lights for the earlier punk inspired Oils songs in the set and introduced more of the B-EYE effects for the later songs with more layered textures,” added Bazz. “I couldn’t have been happier with the end results. Chameleon Touring Systems provided the gear …. thanks Tony, Toby, Graham, Gazi, and Francesco for making it all possible.”
The following week it was off to Brazil to start the international part of the world tour. The Brazilian shows varied in size from around 3000 cap to 8000 cat venues, so part two of the design kicked in. Whereas Selina’s was quiet conventional in its design the extra space gave Bazz the chance to go for his preferred asymmetrical look.
“I hung trussing in reference to the Midnight Oil hand logo using five runs of truss at various angles, four emerging from the upstage right corner of the stage and spreading out over the stage and the front truss running high to low along the front edge of the stage,” he explained. “Each venue’s roof height helped to determine the angles and overall shape of the rig. Loaded on the trusses were again B-EYEs, MAC Auras, Atomic LEDs, RUSH MH2s (as no MAC101s available) and Ribalta LED bars (instead of Sunstrips). LPL Brazil supplied the lights with Bazz saying that they were a great bunch of guys and he needs to thanks Caio and Enrique from LPL.
“I needed to morph the MAC101’s into RUSH MH2’s and the Sunstrips into Ribalta LED bars which the Chamsys did seamlessly,” said bazz. “I took the Sunstrip dimmer channels and copied them in the patch to the Ribalta white LED channels. This meant that any time I ran a Sunstrip look from the show, it drove the white LEDs on the Ribalta and then I could add colour over the top of Sunstrip looks. I took the programming I did at Selina’s and expanded it into the new rig, refocusing to the new set up and building each day more and more songs into the show file. By gig six of the tour there were over sixty songs programmed …. the Chamsys makes that easy to do.
“Thanks to all the Oils, John Watson management and Oils crew for having me on this most excellent trip!”
Sean Clarke on lighting Miss Saigon
Posted on Tuesday, August 8th, 2017
Currently playing at the Riverside Theatre in Parramatta, Miss Saigon is a musical by Claude-Michel Schönberg and Alain Boublil, with lyrics by Boublil and Richard Maltby, Jr. It is based on Giacomo Puccini’s opera Madame Butterfly, and similarly tells the tragic tale of a doomed romance involving an Asian woman abandoned by her American lover. The setting of the plot is relocated to 1970s Saigon during the Vietnam War, and Madame Butterfly’s story of marriage between an American lieutenant and a geisha is replaced by a romance between an American GI and a Vietnamese bargirl. The musical’s inspiration was reportedly a photograph, which Schönberg found inadvertently in a magazine. It showed a Vietnamese mother leaving her child at a departure gate at Tan Son Nhut Air Base to board an airplane headed for the United States where her father, an ex-GI, would be in a position to provide a much better life for the child. Schönberg considered this mother’s actions for her child to be “The Ultimate Sacrifice,” an idea central to the plot of Miss Saigon.
Highlights of the show include the evacuation of the last Americans in Saigon from the Embassy roof by helicopter while a crowd of abandoned Vietnamese screams in despair, the victory parade of the new communist régime and the frenzied night club scene at the time of defeat.
Lighting designer Sean Clarke was tasked with creating the filthy world of Saigon as well as isolating central characters in their own world; to use light to take the audience on a journey though the emotions of the musical. The crescendos in the music were met with a decrease in lighting rather than the traditional Broadway sense of arrival for a character, in turn the audience were literally drawn closer to the characters.
“Neil Gooding and Ylaria Rogers certainly directed this production staying true to the complexity of the story, my design helps to make that story clear to the audience,” commented Sean. “The use of the ETC lustrs in the box boom gave me the essential side lighting to intimately light small spaces such as Kim’s bedroom. The generous Riverside standard rig combined with 20 x Martin MAC700’s from Chameleon gave the design the desired flexibility. The use of theatrical top hats on the LED Parcans removed the look of the LED and gave a very stylish look to the production.”
The stage design by Neil Shotter has two fixed towers on either side of the stage which meant that there was considerable planning in the pre-rig to ensure the lights were not obstructed by the slatted roof elements. The helicopter arrival was another challenge ensuring the audience believed in that moment of the musical, the combination of lighting and sound fx created by David Griggs ensured the success.
Sean revealed that the Morning of the Dragon is a lighting highlight for him. The stage is bathed in red wash with thin strips of white penetrating through creating a searchlight effect without exposing the 40 dancers on stage. These lamps then expand to create bright backlight for the interrogation that occurs during the five minute number.
“The helicopter is another personal moment because of the audience reaction to the effect created by all departments,” added Sean. “I have always been a big believer in subtlety when it comes to the use of moving lights in theatre, fixtures should move in black so the audience are not distracted along the way. The bamboo curtain element to the design gives a beautiful scrim like effect which is used a couple of time which the audience are not expecting. It is the element of surprise that makes the role of a lighting designer very creative with a huge sense of accomplishment.”
Miss Saigon has a large production team, it is the collaboration of all of these departments that ensures the creativity and the design brief is met and that the audiences enjoy the grand scale of this musical. With thanks to Eclipse for additional sound equipment, Chameleon Touring Systems for lighting, staging supplied by Megadeck Australia and drapes by The Look Sydney. A personal thanks to Linda Taylor (Operations Manager), Mike Brew (Technical Team Leader) Matt Lutz (Board Operator), Pete Francis, Sarah Webster. Ben McPharlin and VET students from the Rouse Hill Anglican College (Followspot Operators)
This production was produced by Packemin Productions and Riverside Theatres they have announced SHREK the musical as the first production in February 2018.
Miss Saigon closes this Saturday 12th August – Bookings www.riversideparramatta.com.au
20 x 1kw 12/28 Selecon Pacifics
24 x 1kw 23/50 Selecon Pacifics
28 x 1kw 1.2k Selecon Fresnels
40 x 600w Axial Acclaims
20 x MFL Parcans
29 x RGB Led Parcans with tophats – supplied by Chameleon Touring Systems
10 x Mac 700 Profiles – supplied by Chameleon Touring Systems
10 x Mac 700 Washes – supplied by Chameleon Touring Systems
12 x Colorado LED Strips– supplied by Chameleon Touring Systems
12 x ETC Lustr One Profiles– supplied by Chameleon Touring Systems
4 x Robert Juliat Followspots (ALEX) – supplied by Chameleon Touring Systems
2 x Unique Hazers
2 x Antari ZSeries 3000 II Smoke Machine
11 x Eggstrobes – supplied by Chameleon Touring Systems
1 x ETC GIO
1 x Octoport Node – 6 universes
Director: Neil Gooding & Ylaria Rodgers
Musical Director: Peter Hayward
Choreographer: Sophie Gospodarczyk
Assistant Director: Jessica Fallico
Assistant Choreographer: Cameron Boxall
Set Designer: Neil Shotter
Costume Designer: Audrey Currie
Lighting Designer: Sean Clarke
Sound Designer: David Grigg
Make-up Co-ordinator: Karen Lamont-Barnett
Stage Manager: Cecilia Nelson
Publicist: Laura Vassallo
Dialect Consultant: Jennifer White
Event Lighting for The Seussical Musical 2017
Posted on Monday, July 31st, 2017
MJF Lighting tour with Tiki Taaane Mahuta
Posted on Tuesday, July 25th, 2017
From May to June 2017 MJF Lighting’s Shamus Jackson was invited to be the Head LX/Operator on the Tiki Taaane Mahuta Tour. He travelled across New Zealand with his young family in tow and also Taki Rua Productions to thirteen different locations.
“It was a great experience,” he mused. “The equipment was simple to use and robust enough to not have any complications.”
Lighting designer Nathan McKendry developed a simple yet versatile rig for the tour which included Martin MAC Viper DX Washes, MAC Auras, MAC Viper Performances and MJF’s new Showpro FC LED Profiles.
“The LED Profiles provided an extremely vivid array of colours and are the newest addition at MJF Lighting Limited, purchased specifically for this tour to enhance the aesthetics of the design and to help cut down the amount of equipment required,” said Shamus.
Nathan McKendry commented that Tiki Taane Mahuta required lights and planning with flexibility and depth to create a system that could not only satisfy artistically what he needed to achieve but also logistically.
“The main challenge with this production was time, time during production week and also on the road,” he commented. “To achieve this design in the tight schedule, I decided to do the majority of the programming in the MA3D previsualisation suite. This allowed me to do my first watercolour of the production and show the director what we were thinking. I also opted for a rig that was mainly moving heads which allowed me to keep numbers of units down and the flexibility I needed to achieve some of the looks I wanted.
“The main rig consisted of Martin MAC Viper Performance and Wash units which gave me all the options and a great depth of colour that I needed overhead. Being an Aerial Dance Performance side lighting and height was key, to achieve the height without blowing out the entire space with generic profiles on booms, I used Martin MAC Auras to give me the height but also the ability to isolate in on the aerialists when required.”
Nathan further commented that in the initial planning stages he quickly discovered that he required a lighting team that could plan well in advance and supply quality gear that wouldn’t fail him on the road.
The show had multiple aspects ranging from dancing to haka to aerial acts which all combined to provide an exquisite show. This was all performed to the live soundtrack of Tiki Taane with support from Sam Trevethick from Shapeshifter. The show was developed over ten years by Ta?nemahuta Gray.
Photos: Philip Merry
Claypaky Scenius Profile an Intense success
Posted on Friday, July 21st, 2017
“I visited the Show Technology office to have a good test of the Scenius Profile and discovered that it showed a level of sophistication that I couldn’t find with other fixtures I had investigated,” commented Ian. “We bought six as a pilot purchase, seeing as they’re a new product we wanted to test the markets response to them, but I can say we will be looking to purchase additional units soon. As most of the work that we do is in theatre, almost every rider calls for a moving light with shutters.”
The Scenius Profile’s framing system consists of four independent overlapping blades that create shapes of all sizes, not just quadrangular, but also triangular. It works simultaneously on four different focal planes and the exclusive “curtain effect” allows gradual total closure of the shape using any one of the four blades. The shape made may also be turned around itself up to an angle of 90°, either to change its orientation or keep it fixed as the light beam moves.
“Our clients love the four plane focal system, you won’t get any shutter clash like you do with some other fixtures where it will push out another shutter to get that shutter in,” said Ian. “The aperture is so compact, the edge remains consistent in the focus field which is a really nice feature.”
“They loved the Scenius Profiles,” said Ian. “We fitted a custom glass gobo for them which was hassle free. The lighting designer Daniel Barber had nothing but good things to say about them.”
Ian was impressed by the stock gobos that come with the Scenius Profile, which he describes as texture heavy and thus very good for theatre.
“One thing I’ve found with a lot of moving heads in this range is that they try to please everyone in the lighting market,” he remarked. “So you’d get a couple of good texture gobos and then some aimed at the nightclub market, fan break ups etc that are not so critical in theatre.”
Ian reports that he has received a lot of positive feedback on the linear frost and CPI wheel, saying there’s good controllability of the linear frost – something lacking in past fixtures that have attempted this.
“The modular setup of the Scenius Profile makes it easy to service,” added Ian. “The major forefront of technology I found with it is that it utilizes turbine fans, which I havent seen in any other moving head. I believe they have good longevity and they also run a push/pull cooling system across the lamp which is quite nice.
“Their brightness is second to none. We used them on a show at the City Recital Hall with one situated in the bio box acting as a follow spot in parts. It was a 30 metre throw and it was very punchy. The colour system is smooth and variable, you get a nice range of pastels. When you pair such a quality product with the support you get from Show Technology, you can’t go wrong.”
All six of Ian’s Scenius are currently on Opera Queensland’s production of Gilbert & Sullivan’s Ruddigore, or the Witch’s Curse with lighting design by Andrew Meadows
Claypaky’s extremely high quality Scenius Profile is a light for all shows; not just as an effects projector, but also as a key light. This greatly simplifies the lighting system layout since the same light can perform multiple tasks. At last there is a moving light with a discharge lamp whose characteristics also arouse interest in those who work in the theatre and television!
Photo: Stephen Henry