Entec's head of lighting Adam Stevenson explains that they are supplying a basic rig consisting of 16 400W exterior sodium floods illuminating the white-clad inside of the stage, for those acts wanting absolutely no additional visuals apart from being clearly seen, the option favored by most orchestras. The entire lighting system is rigged directly onto the stage structure, and also - at the request of the client - concealed above a custom-made white inner skin, to be as invisible as possible, preserving the clean and uncomplicated lines of the stage.
For those wanting to jazz up their shows with extra light and colour, Entec offered two upgrade packages, standard and advanced. The standard option includes four MACs, Source Four profiles and half a dozen floor cans. The advanced option, enthusiastically embraced by Diana Krall's lighting designer Dale Lynch, includes Entec's Vari*Lite 2402s and 2202s, a selection of Source Four profiles and fresnels, plus a Wholehog II console. The VLs for the Krall gig were rigged on Manfrotto stands and shrouded in white drape to blend them into the stage surround. The lighting desk was also moved from its regular side-stage position to FOH, alongside the sound desk. Lynch says: "I've been very impressed with Entec, they have done everything I've asked with great efficiency and good humour, and they are great people to work with".
On site, Steve Kerwick is looking after lighting for the season. For him, the biggest battle is to create an interesting looking show with very limited power. There are three phases of 32A available to run the sodiums and any additional stage lighting. This makes it very tight, however Kerwick has mastered the art of balancing dimmers and ensuring that each artist looks good, whatever their chosen lighting package. "Classy and appropriate lighting is the generic brief," says Kerwick
(Sarah Rushton-Read)L to R: Danny Kerwick, Steve Kerwick, Dale Lynch (LD for Diana Krall) and Entec's Adam Stevenson.
