The rig includes a wide variety of Martin Professional MAC moving lights - 11 MAC 2K profiles, eight MAC 2K Washes, 12 MAC 500 profiles, six MAC 250s and four MAC 300s. There's also four DHA Digital Light Curtains and the generic lights include 36 Source Four Profiles with different lenses, and a selection of PAR cans.
All the generic fixtures are fitted with either ChromaQ Broadway or ChromaQ PAR scrollers, and Sherrif is running the show from a WholeHog II console. HSL has also supplied three Avolites ART dimmer racks and one of its custom built mains distro. The whole rig is completely self-contained at each venue apart from follow spots, which are supplied by the house.
The highly dynamic lighting scheme works tightly with Paul Farnsworth's excellent set design, with most of the generics used for set washes, and the Source Fours for additional set dressing and gobo texturing. The smaller MACs are installed under the main scenic bridge, and used for side light throughout.
The MAC 2K Profiles are the main 'specials'. It's a very classic show in terms of moving lights - rarely are they seen to move, and when they do, it's with maximum impact, which includes some large audience sweeps to include the crowd into the stage action. The huge flexibility of the rig enables a spectacular visual result to be achieved with a relatively small lamp count.
The colours are also primarily traditional - lots of sepias and colour correction - maximizing the CTC systems in the 2K profiles - and plenty of exploration of the blue and red spectrums. There are nearly 300 cues in the show - programmed by Tim Beagley.
It's the first time that Sherrif has worked with HSL as a lighting supplier, but he has been well impressed: "The gear is in excellent condition and a lot of it was bought new for the tour" he says, "The support and back-up from HSL has been brilliant - and that's just what you need as an end-user. If anything has needed dealing with or swapping out it's happened either the same day or within 24 hours."
He added that the huge amount of prep space available at HSL was also a Godsend in the pre-production period, enabling them to get well ahead before the first show. Mike Oates of HSL Hires says: "It's great to be involved with these productions. We aim to offer an outstanding service to touring crews, ensuring that no matter where they are, whatever time or day it is, they can contact HSL and we'll get straight on it."
The tour is currently scheduled to run until August. Sound is being supplied by Orbital (FOH engineer Alex Bryson) and Kenwright's production manager is David Stoddart. Company manager is Maria Gibbons and Production LX is Keith Johnson.
(Sarah Rushton-Read)
