The Show's futuristic storyline and hard hitting soundtrack required some big-impact lighting and visual effects. But how were the producers (Iron Sea Productions) going to achieve this when they could only access the theatre in the morning of each Sunday show? Not to mention the fact that a full lighting rig for the long running National Theatre production of One Man, Two Guvnors was already installed at the venue.
Cue lighting director Nigel Catmur and a well drilled ELP crew led by Mark Gardiner. "The technical and logistical challenges were to fit this one day show which took place on a Sunday around another show which was here for the rest of the week," says Catmur.
"We had to work around their set and sub-hang our truss underneath their lighting rig, exercising great care not to displace or interfere with any of their gear."
Catmur and his crew chief Mark Gardiner liaised closely with the National Theatre's production manager Patrick Molony and obtained the necessary permissions. "The house crew under Chief Electrician Steve MacGuire were very cooperative and really wanted to make the show work." remarks Catmur.
Typically, the ELP team would gain access to the theatre at around 9.00 am on a Sunday morning and by 11.30 am they were usually all set up.
They were able to achieve this level of speed and accuracy through a great deal of pre-planning. Whilst the show was rehearsed at Twickenham Studios for one week prior to arriving in the West End an advance team spent a day at the theatre pre-rigging cables and motors where ever possible to speed up the install process on the first Sunday.
"Major credit to Mark and the rest of the crew. They really did an amazing job" praised the LD.
He continues "On the first Sunday we got in at 8am and by midday the show looked like it had always been here. I can't tell you how impressed everyone was with the way the crew performed. I know what these guys can normally do, and even I was amazed."
Beyond the creative requirements one of the defining factors that shaped the lighting design was the necessity to set up and dismantle in one day whilst still delivering high impact. Flexibility was essential.
For the above reasons the majority of the lighting rig comprised of moving lights as there were 23 dance routines led by six choreographers.
"The Haymarket is quite a small stage so I needed small units that could really pack a punch and deliver maximum creativity," adds Catmur.
Clay Paky Sharpys were an obvious choice for their small footprint, versatility and powerful beams. Catmur hired 6 of them from ELP.
Thirteen ELP MAC 700s were used as general lighting and with gobo effects and their animation wheel. And 14 ELP MAC 700 wash lights were used to colour match the Mac profiles.
Six MAC301s dressed the stage floor along with seven Sunstrips along the foot of a large Barco rear projection screen. This worked in tandem with a super bright 22k Barco projector.
Twenty-eight Source 4s provided cross lighting on stage while three Alpha Spot HPEs were brought in especially to project gobo effects onto the dancers white costumes during certain parts of the performance. And LED rope light added to the spacey themed video content.
Two Robert Juliat 2.5K MSR Ivanhoe follow spots completed the lighting inventory to produce a stunning, high-impact visual display.
"The whole rig worked in harmony" says the LD. I don't think that any particular lighting fixture stole the show but rather they all integrated and complemented each other"
Catmur programmed his Full Boar Road Hog lighting desk which was al
