Australia - Andy Ciddor’s passionate and committed career in technology, production and live performance of over five decades came to an end on 30 March after taking advantage of Tasmania’s Voluntary Assisted Dying programme to end his struggle with stage-four bile duct cancer.
Starting in high school, out of frustration at the state of a school production his career spanned theatre, broadcast, production, teaching, consulting writing and editing – sharing his passion and mentoring the next generation of designers and technicians. He was followed into the industry by his brothers Jonathan and Braham and most recently, his daughter Rivka.
From working at GTV9 on productions like Hey Hey It’s Saturday and various tonight shows, he moved to Perth to join STW9

USA - Elation Professional has introduced the Fuze Teatro, a refined moving head luminaire that can be used to visually craft any scene without drawing attention to itself. Designed for any application where a noiseless, fully-automated framing fixture with full-spectrum colour range and quality is required, the Fuze Teatro is fanless for completely silent operation.
Illuminating the performing arts with automated luminaires has traditionally been a challenge. The technology required to provide the desired lighting levels, colour quality and remote positioning usually creates unwanted noise from fans, mechanical color mixing modules and other components, making their use in carefully-designed acoustical venues less than ideal. The Fuze Teatro has addressed these concerns with a fanless design and soundless color mixing system that makes it ideal for noise-sensitiv

UK - More than 200 students from institutions around the UK tuned in live to Production Futures’ new YouTube channel for the launch of the Production Futures Studio TALKS podcast last week. Cheshire College, LIPA, The Royal Welsh College of Music and Drama, and Norwich University were all represented, with in some cases, tutors bringing whole classes to the session.
The inaugural podcast with lighting designer Tim Routledge was presented in conjunction with the BBC’s Bring the Drama Festival, which sees the Corporation joining forces with some of the UK’s prominent cultural organisations to open doors of opportunity for the next generation of behind-the-scenes talent.
The 90-minute live broadcast Q+A, which saw Tim take part remotely from a secret location - he is currently working on production rehearsals with Take That - provided the young audience with valuab

USA - John Garberson created the lighting rig for the Powerhouse hip-hop celebration at the Desert Diamond Arena outside Phoenix.
Garberson and his team at Creative BackStage positioned a potent lighting rig on the 60ft wide by 40ft deep stage, using fixtures supplied by LIT Lighting. At the same time, however, they made sure to arrange things so there was a generous amount of open space at the stage’s centre. This gave headliners Kevin Gates, Tech N9ne, Young Nudy, and other performers a chance to standout, and connect to the sellout crowd of 20,000 without distractions.
While the hip-hop stars performed their art against the ‘blank canvas’ they were surrounded and supported by dynamic lighting displays above them and to their sides. Principal lighting designer James Simpson and the visiting LDs used a rig anchored by 48 Chauvet Professional fixtures to create a

World - The 1975’s appetite for touring is considerable and their schedule is gruelling, so their touring equipment needs to be able to keep up. Eighteen rounds of air and road freight can take its toll and reliable consoles that can withstand dust, heat, cold and humidity are vital as the team and their equipment cross multiple time zones. The tour relies on a DiGiCo Quantum 7 at front of house, and a Quantum 5 at the monitor position.
Monitor engineer Francois Pare states, “I don’t think I’ve used any other desk since 2016. Nowadays the shows are so involved, there aren’t many desks that can handle the number of channels we need. On The 1975, we have an eight-piece band, and the show is quite theatrical, there’s a lot going on effects wise on stage, so it all adds up.”
At front of house, Lee McMahon’s comments, “Building this show has been an amazi

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