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Lighting & Sound America is an American entertainment technology magazine published in New York City by PLASA Media Inc, a commercial arm of the Professional Lighting and Sound Association (PLASA). Lighting & Sound America covers the broad range of the entertainment, presentation and events industries worldwide, including theatre, live touring, clubs, themed venues, corporate events and presentations, as well as in-depth profiles of people and companies involved in the lighting and sound industry.

Lighting & Sound America is circulated to 12,000 subscribers each month, the vast majority of which are in North America.

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Published by Read My eBook for FREE!, 2020-02-18 22:54:31

Lighting & Sound America (December 2019) Magazine

Lighting & Sound America is an American entertainment technology magazine published in New York City by PLASA Media Inc, a commercial arm of the Professional Lighting and Sound Association (PLASA). Lighting & Sound America covers the broad range of the entertainment, presentation and events industries worldwide, including theatre, live touring, clubs, themed venues, corporate events and presentations, as well as in-depth profiles of people and companies involved in the lighting and sound industry.

Lighting & Sound America is circulated to 12,000 subscribers each month, the vast majority of which are in North America. December 2019


The Chainsmokers

The World War Joy Tour


Tina: The Tina Turner Musical

Sketchbook Tour

An International Resolution
for Wireless Mics

ETC Relevé Spot

City Theatrical Multiverse

Sennheiser IE 500 PRO


featured exhibitors
on page 13



December 2019 Volume 16, Issue 12
Photo: Manual Harlan


This Month…
Cover: The Chainsmokers
Photo: Danilo Lewis

10 Industry News
32 New Technology

93 Audio File
94 Book of the Month
Photo: Danilo Lewis
98 People Worth Knowing

38 The Tina Turner Review
A top design team devises a unified approach to a
musical about the star’s tumultuous life and times

48 A Star’s Sketchbook
Fantasia Barrino reconnects with her fans in this adroitly
tailored showcase

54 Joy to the War
Inside the singular spectacle of The Chainsmokers’
new tour

Technical Focus...
64 International Resolution Benefits Wireless
Microphone Operators
66 ETC Relevé Spot
72 City Theatrical Multiverse
76 Sennheiser IE 500 PRO

8 Letters
84 Marketplace
97 Ad Index

For BONUS editorial, go to

Lighting&Sound America—published monthly by the Professional Lighting and Sound Association © Copyright Professional
Lighting and Sound Association. The views expressed in Lighting&Sound America are not necessarily those of the Editor or
PLASA Media, Inc.

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Publisher, General Manager Jacqueline Tien - [email protected]
Editor-in-Chief David W. Barbour - [email protected]
Technical Editor Richard Cadena - [email protected]
Media Sales Executive Erick Pinnick - [email protected]
Media Sales Executive Katie McCulloh - [email protected]
Assistant Editor Elaine Miraglia - [email protected]
Associate Editor Beverly Inglesby - [email protected]
Art Director John J. Scott - [email protected]
Office Manager Cindy S. Tennenbaum - [email protected]
Publishing Coordinator Ramzi Kanazi - [email protected]
Publishing Coordinator Carina S. Lee - [email protected]
Lighting&Sound America " " " " " ! " ! " " " "
" ! ! " " " ! " ! " ! " ! " ! "
"Lighting&Sound International ! " ! " " " !! "
" !" ! !" ! " " " "

Managing Director Peter Heath - [email protected]
Finance Director Shane McGreevy - [email protected]

Lighting&Sound America
630 Ninth Avenue, Suite 609, New York, New York, 10036, USA
Tel: +1-212-244-1505 ext. 712 Fax: +1-212-244-1502

PLASA Show: September 6-8, 2020, London, Olympia

members of:

To apply for a new subscription, or to change your address, go to or call +1-212-244-1505,
CREATIVITY UNLEASHED e-mail [email protected], or fax us at +1-212-244-1502.
Subscription rates:
Lighting&Sound America (ISSN 1552-1273), published monthly, is free for qualified U.S. and
international subscribers. Lighting&Sound America is published by PLASA Media, Inc., 630 Ninth
Ave., Suite 609, New York, NY 10036. All non-US copies mailed surface rate. Periodical Postage
paid at New York, NY office and additional mailing offices.
POSTMASTER: Please send address changes to Lighting&Sound America,
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ZZZ HODWLRQOLJKWLQJ FRP Copyright © 2019 by Lighting&Sound America. All rights reserved.

6 • December 2019 • Lighting&Sound America


What a roller-coaster 2019 has been! As always, I Don’t look now, but the world of concert touring
am grateful to be a part of an industry that works design is changing. It has to do, I think, with the
so closely together and gives so much back along rise of singular talents like Billie Eilish and Khalid,
the way. With thanks to PLASA, ESTA, NAMM, whose music requires a fresh approach, as well
USITT, Avixa and so many other groups and asso- as DJ stars like Deadmau5, who suppress their
ciations that work all year long to improve our own personalities in favor of onstage spectacle.
industry while making it as fun as humanly possi- The latest example is the Chainsmokers’ World
ble, too! It was nice to see so many of you at the War Joy Tour, which doesn’t look quite like any-
recent LDI show as well. In this issue, we cele- thing we’ve covered before. It represents a uni-
brate the great technology and design on Tina: fied approach to scenery, lighting, and video that
The Tina Turner Musical on Broadway, Fantasia’s produces striking results. Sharon Stancavage
Sketchbook Tour, The Chainsmokers’ World War Joy Tour plus our popular delves into the details for you. And, for good measure, she reports on
LSA Technical Focus series with City Theatrical (check out their cool belly- Fantasia’s Sketchbook Tour.
band cover wrap), ETC, Sennheiser, and much more. Please enjoy your free Speaking of divas—we were, weren’t we?—Broadway has been invaded
2020 Wallplanner poster on page 19. If you’d like additional free posters for by Tina: The Tina Turner Musical and the only possible response is total
your colleagues, friends, or family, just email [email protected] (limited sup- capitulation. This is a different sort of star bio musical and it has a design
plies). Thank you to this year’s Wallplanner sponsors: RC4 Wireless, Robe, that is elegantly minimal when it needs to be and loaded with glitz and
Applied Electronics, ELC, Antari, Inlight Gobos, Barbizon, and Link. And glamour when the occasion calls for it. We report on all of it, including a
thanks, as always, to the hundreds of companies, schools, consultants, and fascinating sound system that is designed to be suitable for all occasions.
more who support LSA all year long. Also, Joe Ciaudelli, of Sennheiser, reports on the efforts to create an
See you all at the busy and fun annual NAMM trade show, January 16 – international resolution for wireless mics, a gargantuan task given the many
19 in sunny Anaheim, California, stakeholders involved. Richard Cadena looks at ETC’s Relevé Spot, which
Check out LSA’s NAMM featured exhibitors on page 13 and all of their lat- is well-poised to bring automated color-mixing LED to markets that couldn’t
est products and services in this issue! Come see us at the LSA, LSi, and previously afford it and City Theatrical’s Multiverse—a product that, Richard
PLASA booth (#10847) and stop by our networking cocktail reception on predicts, will be hugely influential. He also reviews Laura Frank’s new book
Thursday January 16, from 4-5:30pm. Screens Producing & Media Operation, a first-of-its-kind text. Mark
Not least, a thousand thanks to an amazing team here at LSA, just wow. Johnson examines Sennheiser’s IE 500 PRO in-ear monitors, the latest in
What a pleasure to work alongside such hard-working, talented, and kind the company’s expanding pro line. And Phil Ward casts a typically skeptical
professionals. All the very best of health, eye at object-based audio.
success, and happiness to everyone and As I write, it’s beginning to look a lot like
your families and friends in the coming year! Christmas. This has been an incredible
See you soon. year—in all sense of the word—so my 2020
$ # ! # !# $ ! $" " vision is for a calmer and prosperous year.
! #" # #"$ $ $ #" ! " ! !# We can all raise a cup of eggnog to that.
$ !# !# $ $ " $ ! $" " $ $ "

Theatres are places for

Sometimes the most exciting thing
about theatre is seeing something for
the first time—again. Whether that’s a
gem of an old auditorium, or reliving
your favorite show.

Victoria Palace Theatre Learn more at
Photo: Philip Vile

Read the LSA November Technical Focus product in-depth!


BTS Receives Large

Response to Mental

Health Survey

Behind the Scenes announces that its mental health resources.”
recent Survey to Assist in the An initial look at the survey results
Development of a Mental Health and confirmed that the long hours, pres-
Suicide Prevention Initiative in the sures of deadlines, lack of resources,
Entertainment Industry was responded and uncertainty of employment have
to by more than 2,300 industry mem- taken a toll on the industry. These
bers. issues affect both mental and physical Showlight
The members of the BTS mental health, affecting relationships with
family and friends. Unsurprisingly,
health initiative steering committee more than 90% of respondents have 2021
have reached out directly to thank
those participants for whom they had experienced anxiety and more than
contact information. “But,” the group 80% have suffered from depression.
said in a statement, “we want to make The committee stated, “What is
sure that everyone who took the sur- very encouraging, is that many individ- Call for
also apparent from the responses, and
vey knows how appreciative we are of
their participation.” uals want to step up and help col-
The committee statement added, leagues they feel are struggling but Speakers
“The information provided is invaluable simply don’t know how and are very
as we begin the development of this concerned about making things Showlight, the quadrennial lighting
initiative. Because so many people worse. Our goal is to provide informa- conference, will take place at
responded with such a wealth of infor- tion and resources that will give indus- Fontainebleau, France May 22 – 25,
mation, it is going to take us a little try members the confidence to act.” 2021. At the heart of Showlight is its
longer than expected to work our way If you did not participate in the sur- program of papers delivered by light-
through the responses. We want to be vey but would like to be kept informed ing practitioners from around the
sure we understand the issues indus- of the initiative’s progress or partici- world.
try members face and the obstacles pate in future surveys, email The essence of Showlight is its
that might prevent them or those they [email protected] speakers, and the event’s organizers
care about from seeking and utilizing are now calling for anyone involved in

Unrivaled output &
creative control

Independent zoom

Larger & brighter

The next level in linear

lighting—lighting designers, lighting information. PRG. Showlight 2021 is also support-
directors, directors of photography, Speakers will be announced as ed by media partners Light&Sound
architectural lighting designers, or confirmed from 2020 onwards. International and Lighting&Sound
associated crafts like programmers Companies supporting Showlight America. You can follow the event on
and manufacturers—to submit their include headline sponsor Robert Juliat; the Web at, on
ideas for 2021’s conference papers in platinum sponsor Ayrton; gold spon- Facebook at @showlightevent, and on
Fontainebleau. Talks are to be 20 min- sors Eyetidy, Robe, and SFL Group; Twitter at @Showlight2021. To become
utes in length, to enable as many silver sponsors White Light and ACT a Showlight sponsor go to sponsor-
papers as possible to be presented Lighting, Inc; and bronze sponsor [email protected]
over the three-day period.
The Showlight committee aims for
variety, across topics relevant to all

aspects of the lighting industry today.
In a statement, it said, “We want to
hear about your experiences, your
ambitions, your inspirations, your con- Fontainebleau, France : 22-25 May 2021
cerns, your successes, and your fail- Headline Sponsor
ures. We are not looking for simple
product promotion.”
Typical subjects might include inno-
vative and interesting designs, unusual
projects large or small, solving the Join us
impossible, your unique corner of the
lighting world, the future and the 22-25 May 2021
past—where should we be going and Check out our all new website!
Théâtre Municipal, Fontainebleau, France
what should we have learned, issues
If you would like to become part of
Showlight 2021 by presenting a Platinum Sponsor
Get involved . . .
paper, send to [email protected]
Gold Sponsors
of the paper you are proposing. 6HH WKH ZHEVLWH IRU PRUH GHWDLOV
All papers will be considered by
Got something to share?
the Showlight papers committee and,
if selected, you will be contacted for
further details, and with technical IURP DFURVV WKH JOREH
requirements and accommodation
@Showlight2021 /showlightevent
O • December 2019 • 11


PLASA Reports 5% Growth

of UK Entertainment Technology

Industry in 2018/19

The UK entertainment industry has
grown by 5% in the past 12 months,
according to a new report released by
PLASA, which values the UK enter-
tainment technology industry at £1.36
billion in 2018/19.
The full report profiles the whole
industry over 50 pages, offering
detailed insight into market sectors,
investment in marketing and R&D,
industry workforce, trends over time,
and future predictions.
Each market sector receives an
investigation, including recent per-
formance, challenges, and future
potential. The sectors reporting the
largest growth include architectural,
broadcasting, and corporate events,
which are valued at £250m, £220m,
and £160m respectively.
However, among the robust results
from the past year, the report high-
lights considerable uncertainty about
the future, with only a third of busi-
nesses surveyed expecting the indus-
try to grow in the next year. The main
concern is how and when the UK will
exit the European Union.
“We are delighted to offer this
important resource,” says Peter
Heath, PLASA managing director. “It
provides vital insight for business
planning, budgeting, and benchmark-
ing performance; I encourage all busi-
nesses to download the full report.
“Whilst it’s great to see that the
industry has performed so well over
the last year,” he says, “we are clearly
looking towards a period of uncertain-
ty as Brexit looms over the sector.
PLASA will continue to support our
members to the fullest extent that we
can.” The 2019 Industry Research
Report is available to download free of
charge to PLASA members. For a
copy, visit

12 • December 2019 • Lighting& &Sound America

Visit These Featured

LSA NAMM Exhibitors!

BOOTH 10847

Visit NAMM Booth . . . . . . . . . . . .LSA Ad page Visit NAMM Booth . . . . . . . . . . . .LSA Ad page

A THEATRE A Theatre Project, by R. Pilbrow . . . . . . .10847 . . . . . . . . . . . . . . . . . . . .85 Light & Sound International . . . . . . . . . .10847 . . . . . . . . . . . . . . . . . . . .78

ADJ . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11233 . . . . . . . . . . . . . . . . . .9, 88 The Light Source . . . . . . . . . . . . . . . . . .11549 . . . . . . . .24, 71, 83, 88, 90

Academy of Production Technology . . . .10847 . . . . . . . . . . . . . .Poster, 31 Lighting&Sound America . . . . . . . . . . . .10847 . . . . . . . . . . . . . . . . . . . .97

Antari . . . . . . . . . . . . . . . . . . . . . . . . . . .11046 . . . . . . . . . . . . . .Poster, 90 Link . . . . . . . . . . . . . . . . . . . . . . . . . . . .17507 . . . . . . . . . . .Poster, 20, 85

Applied Electronics . . . . .11346, 11910, 17719 . . . . . . . . . . . .Poster, 4, 91 Martin by Harman . . . . . . . . . . . . . . . . . .14508 . . . . . . . . . . . . . . . . .81, 87

Chauvet Professional . . . . . . . . . . .11138, B-1 . . . . . .Inside Cover, 89, 95 OmniSistem Lights & Effects . . . . . . . . .11926 . . . . . . . . . . . . . . . . . . . .86

Cameo - Adam Hall Group . . . . . . . . . . .11613 . . . . . . . . . . . . . . .3, 86, 89 PLASA Show 2020 . . . . . . . . . . . . . . . . .10847 . . . . . . . . . . . . . . . . . . . .78

CODA Audio . . . . . . . . . . . . . . . . . . . . . .17600 . . . . . . . . . . . . . . . . .77, 85 Renkus-Heinz . . . . . . . . . . . . . . . . . . . . .17907 . . . . . . . . . . . . . . . . .80, 85

Elation Professional . . . . . . . . . . . . . . . .11337 . .Back Cover, 6, 21, 86, 88 Sennheiser . . . . . . . . . . . . . . . . . . . . . . .14108 . . . . . . . . . . . . . . . . .75, 85

ETCP . . . . . . . . . . . . . . . . . . . . . . . . . . . .10646 . . . . . . . . . . . . . . . . . . . .90 Shure . . . . . . . . . . . . . . . . . . . . . . . . . . .15608 . . . . . . . . . . . . . . . . .69, 85

GLP . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10941 . . . . . . . . . . . . . . . . .10, 86 The Sound of Theatre . . . . . . . . . . . . . . .10847 . . . . . . . . . . . . . . . . . . . .85

Harlequin Floors . . . . . . . . . . . . . . . . . . .11249 . . . . . . . . . . . . . . . . .68, 90 Swisson . . . . . . . . . . . . . . . . . . . . . . . . .12041 . . . . . . . . . . . . . . . . .82, 91

JBL . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14508 . . . . . . . . . . . . . . . . .81, 87 Ultratec . . . . . . . . . . . . . . . . . . . . . . . . . .10939 . . . . . . . . . . . . . . . . .26, 91

Lectrosonics . . . . . . . . . . . . . . . . . . . . . .17213 . . . . . . . . . . . . . . . . . . . .85 Whirlwind . . . . . . . . . . . . . . . . . . . . . . . .16116 . . . . . . . . . . . . . . . . .79, 85

Thursday, January 16 10 am–6 pm

Friday, January 17 10 am–6 pm
Saturday, January 18 10 am–6 pm
Sunday, January 19 10 am–5 pm • December 2019 • 13


Making Deeper Hall 5; 2019’s temporary extension has been upgraded to a
larger permanent one. This will help to accommodate the
Connections at growing number of exhibitors and visitors looking to take
advantage of the opportunity presented by ISE.
ISE has consistently attracted a growing proportion of
ISE 2020 end users anxious to see and hear the latest technologies
and solutions for themselves. This evolution in demograph-
ics has seen ISE respond with a conference program that
Tuesday, February 11, 2020 sees Integrated Systems has been continually enhanced in both number of sessions
Europe—the world’s largest exhibition for AV and systems and range of topics.
integration—return to the RAI Amsterdam. The ribbon-cut- ISE 2020’s conference and professional development
ting ceremony that officially marks the opening of the event program—which runs over five days—will once again be
will take place just before 10am. The event runs over four presented with the tagline “Learn, Discover, Be Inspired.”
days, occupying 15 halls, and is home to everything the This year will see the return of long-standing fixtures the
professional audio-visual industry has to offer. Digital Signage Summit ISE and Smart Buildings
ISE 2020 is produced by Integration Systems Events on Conference ISE, along with more recent additions such as
behalf of international trade associations and co-owners XR Summit ISE and the 2019-inaugurated Digital Cinema
AVIXA and CEDIA. Summit ISE and Hospitality Technology Summit ISE by
As per usual, the event will be bigger than ever. More HTNG.
than last year’s 81,000 visitors are expected, there will be
more floor space, and more conferences and learning
opportunities on the agenda.
Designed to help visitors more easily find the 1,300
exhibitors most relevant to their interests are the six
Technology Zones. Spread across eight of the 15 halls,
these comprise:
Audio and Live Events, showcasing sound from micro-
phone to speaker, as well as the latest technologies to sup-
port the kind of audio-visual extravaganzas at which the
industry excels;
Digital Signage and DooH, with a broad range of adver-
tising and information delivery solutions for the retail, trans-
portation, healthcare, corporate, education, leisure, and
hospitality sectors and many more;
Education Technology, with its positive and growing mul-
tidimensional impact on learning outcomes;
Residential, showcasing the latest developments in the
connected home as well as home entertainment and energy
management; Two major new conferences have been added for ISE
Smart Buildings, with a wide array of solutions for the 2020 in the shape of the Control Rooms Summit and CEDIA
control of air-conditioning, lighting and shutter control, secu- Design & Build Conference. The former will explore business
rity systems, heating, ventilation, monitoring, alarming and and technology strategies for operators of control rooms
many others; and across all sectors—including utilities, government, trans-
Unified Communications, with innovative new platforms portation, and military—while the latter is targeted at archi-
designed to facilitate collaborative working and enhanced tects, interior designers, and other design and build profes-
productivity across sites and countries. sionals in the residential space.
A new initiative for ISE 2020 is the Innovation Zone, a The extensive conference program is further enhanced
specially designed area for first-time ISE exhibitors to show- by the AVIXA Higher Education AV Conference, which will
case their technologies. Also in Hall 14, the ISE Main Stage highlight a range of different perspectives on how to best
relocates from Hall 8. It will offer thought leadership and enhance the learning and teaching experience through
best practice sessions from ISE, AVIXA, CEDIA, and AV effective use of AV. The AVIXA Enterprise AV Conference will
Magazine. These sessions are free to attend, and no highlight the growing availability of data and the opportunity
advance booking is required. Hall 14 will also be the loca- that data analytics provides to enable better business
tion of an exciting technology feature, details of which will strategies and workspace/system design.
be announced in the coming weeks. Also returning are AudioForum, which, this year, will
Another show floor development sees an even bigger focus on acoustics and well-being; attractionsTECH, hosted

14 • December 2019 • Lighting& &Sound America


In Memoriam: Stan

Schwartz, Former

Rosco Executive

Stan Schwartz, longtime executive nothing of his skill as a raconteur. Even
vice president of Rosco and a well- after his retirement, he retained a keen
known industry personality, died on interest in the company, delivering a
October 12. He was 84. steady stream of friendly and amusing
Born in Brooklyn in 1935, he commentary on the company’s mar-
attended New York University, where keting to its management.
he majored in business. Before joining On retirement, Schwartz said, “I
Rosco, he ran his own ad agency, The loved every minute of it. That’s mostly
Stanley Schwartz Company. “Rosco because of you, the people with whom
turned out to be his biggest and I’ve worked. I have been constantly
favorite client,” says his son Rick. stimulated by my colleagues; they
Schwartz joined Rosco in 1970 as a bring a keen intellectual edge to their me. It’s also the community of Rosco
marketing consultant, eventually work and remain passionate about it.” dealers and distributors around the
becoming executive vice-president, a He added, “It’s not just the lighting world who have quietly—but effective-
job he held until his retirement in 2013. designers, set builders, directors of ly—help build the industry to what it is
During his time there, he became photography, and tech directors who today. Manufacturers like Rosco get
known for his sales expertise, to say have lit up the past three decades for the credit (and deserve it) for creating

16 • December 2019 • Lighting& &Sound America

products to enable our creative cus- saw tremendous growth and develop- working in the entertainment product
tomers to do their job better. But with- ment. To a large part, that growth was, field; he would often regale us with
out the dealers and distributors, most and continues to be, a result of Stan’s stories of talented lighting designers,
of those creative people would not efforts. He personified the ‘New innovative fog machines, motivational
have been able to see and evaluate Yorker’ to customers around the coun- dealer visits, inspiring marketing talks,
the products, or to understand how try; loud, impatient, gruff—but also and the most wondrous term we had
they fit (or don’t fit!) their needs.” bright, open, and warm. Stan was ever heard—gobos. Beyond the work
Schwartz, who was married three direct, sometimes harshly so. Though itself was his true passion—the people
times, was divorced from his first wife, it was never personal, he had his opin- with whom he worked. He taught us
Penny Fox Schwartz and predeceased ions, wasn’t shy about sharing them, many lessons—as a father, grandfa-
by his second wife, Annette Fried. He and wasn’t afraid to tell you he was ther, and even great grandfather—but
is survived by his third spouse, Marion right. Stan was also the first to give a one of the most valuable things we
Jacobson. Other survivors include compliment, dole out accolades, and learned from our remarkable father
sons Larry (and wife Dorit), Freddy give credit where credit was due. was that the people you spend every
(Geri), and Rick, along with 11 grand- “The legacy Stan has left with day at work with are a different kind of
children (two of whom are married) Rosco will continue, through the wis- family.
and one great-grandchild. dom and insight he bestowed to all “We’re grateful that he enhanced
A passionate theatregoer, Schwartz who were fortunate enough to know the lives of so many people at Rosco
was also devoted to the New York him.” and in the broader industry and we
Yankees, opera, ballet, film, literature In a statement, his family said, “Our hope that those memories live on.”
(especially Shakespeare and Trollope), father was a man of diverse pas- In honor of Schwartz, former col-
liturgical music, and intelligent dis- sions—his personal spectrum spanned leagues and friends gathered at the
course about any subject. literature to theatre to baseball—but Lighting&Sound America booth at the
In a statement, Rosco said, “During chief among them was his work. He LDI Show to raise a glass and tell sto-
his years with Rosco, the company loved his many years at Rosco and ries.


Fifteen ESTA Standards

in Public Review, New Project Announced

Fifteen ESTA standards and draft standards are available for ambiguities, fix bugs, and incorporate some additional fea-
public review on the ESTA TSP website at tures. E1.20 is an extension to USITT DMX512 and ANSI Anyone materially affected by any docu- E1.11 that allows for bidirectional communication on the pri-
ment is invited to review it and to offer comments before the mary data link. This allows a controller to discover RDM-
deadline. The review documents are available for free. enabled devices on the link, to set starting addresses and
ANSI E1.17—2015, Entertainment Technology— other configuration settings, and to request status mes-
Architecture for Control Networks (ACN), is being consid- sages. Comments are due December 30.
ered for reaffirmation—no substantive changes. It is a suite BSR E1.21, Entertainment Technology—Temporary
of documents that specifies an architecture, including proto- Structures Used for Technical Production of Outdoor
cols and language, which may be configured and combined Entertainment Events, establishes a minimum level of design
with other standard protocols to form flexible, networked and performance parameters for the design, manufacturing,
audio, lighting, or other control systems. The suite of docu- use, and maintenance of temporary ground-supported
ments is offered in a ZIP file for download. Comments are structures used in the production of outdoor entertainment
due December 30. events. The purpose of this guidance is to ensure the struc-
ANSI E1.19—2015, Recommended Practice for the Use tural reliability and safety of these structures and does not
of Class A Ground-Fault Circuit Interrupters (GFCIs) address fire safety and safe egress issues. This standard
Intended for Personnel Protection in the Entertainment also establishes a reasonable standard for care by providing
Industry, is being considered for reaffirmation with no sub- the minimum acceptable requirements at which temporary
stantive changes. It offers guidance, in accordance with structures shall be designed and used. Comments are due
existing applicable standards, on how to select, install, use, December 30.
and maintain ground fault protection devices with nominal BSR E1.23, Entertainment Technology—Design,
5mA trip settings in the entertainment industry. The purpose Execution, and Maintenance of Atmospheric Effects, offers
would be to protect persons from shock and persons and advice on the planning, execution, and maintenance of the-
property from fire. Comments are due December 30. atrical effects using glycol, glycerin, or white mineral oil fogs
BSR E1.2, Entertainment Technology—Design, or mists in theatres, arenas, motion picture studios, and
Manufacture and Use of Aluminum Trusses and Towers, other places of public assembly or motion picture produc-
describes the design, manufacture and use of aluminum tion. The guidance is offered to help effects designers and
trusses, towers, and associated aluminum structural compo- technicians create effects that can be executed repeatedly
nents such as head blocks, sleeve blocks, bases, and corner and reliably, and so that they can avoid excessive exposure
blocks in the entertainment industry. It is being revised to to the fog materials and other foreseeable hazards. The revi-
bring its requirements up-to-date with current technologies. sion includes guidance on developing strategies to maintain
Comments are due December 23. an effect over the months or years of a long-running show
BSR E1.4-3, Entertainment Technology—Manually or an extended motion picture shoot. Comments are due
Operated Hoist Rigging Systems, applies to permanently December 23.
installed, manually operated hoists used as part of rigging BSR E1.37-5, General Purpose Messages for ANSI
systems for raising, lowering, and suspension of scenery, E1.20, RDM, provides additional get/set parameter mes-
properties, lighting, and similar loads. It establishes require- sages (PIDs) for use with ANSI E1.20 Remote Device
ments for design, manufacture, installation, inspection, and Management Protocol. Comments are due December 30.
maintenance of manually operated hoist systems for lifting BSR E1.47, Entertainment Technology—Recommended
and suspension of loads for performance, presentation, and Guidelines for Entertainment Rigging System Inspections,
theatrical production. Comments are due December 30. covers inspection of entertainment rigging systems. These
BSR E1.6-2, Entertainment Technology—Design, may be statically suspended (stationary) (dead hung) equip-
Inspection, and Maintenance of Electric Chain Hoists for the ment, manually operated counterweight sets, manually
Entertainment Industry, covers the design, inspection, and operated hoist sets, rope and sandbag (hemp) sets, and
maintenance of serially manufactured electric link chain electric hoist sets (winding drum hoists, packaged hoists,
hoists used in the entertainment industry. The standard is powered counterweight sets). The document includes
being revised to provide more clarity or requirements. inspection of fire safety curtain systems, rigging only.
Comments are due December 23. Rigging systems frequently include combinations and varia-
BSR E1.20, Entertainment Technology—Remote Device tions of rigging types. Comments are due December 30.
Management over USITT DMX512 Networks, is a revision of BSR E1.62, Minimum Specifications for Mass-produced
ANSI E1.20—2010. The standard is being revised to clarify Portable Platforms, Ramps, Stairs, and Choral Risers for

18 • December 2019 • Lighting& &Sound America

Where Production Meets Performance

Live Performance Events covers serially manufactured
portable platforms, stair units, and ramps used with plat-
forms and choral risers. It would cover railings provided as
fall protection accessories for these units. It would give
minimum payload and sideways force handling specifica-
tions. It would not cover custom platforms or complete
stage systems. Comments are due December 23.
BSR E1.66, Safety Standard for Followspot Positions
Erected for Short-term Use in Entertainment Venues, cov-
ers safety requirements for followspot positions in, or on,
structures erected for short-term use, and positions not
covered by ANSI E1.28. It is applicable to positions located
indoors or outdoors. It addresses structural, electrical, and
personnel safety requirements associated with them.
Comments are due December 23. Earn more than 60 free
BSR ES1.9, Event Safety—Crowd Management, defines
“crowd management,” as distinguished from “crowd con- ETCP-renewal credits!
trol,” provides an overview of crowd management theory
and vocabulary and applies these terms to certain reason-
ably foreseeable risks that arise during live events. It is
intended both to identify minimum requirements and to
provide questions and suggestions that help event organiz- #NAMMShow
ers make reasonable choices under the circumstances of Elevate Your Live
their event. Comments are due December 30.
BSR ES1.7, Event Safety Requirements—Weather Event Experiences!
Preparedness, addresses the consideration, development,
and use of weather-planning strategies to mitigate weather-
related risks associated with live events and their associat-
ed temporary special event structures. Its scope includes
both indoor and outdoor events, because both have con-
siderations for attendees. Its scope includes sites not
specifically designed for public events, as these represent
unusual or unique circumstances relating to risk assess- Live event professionals can grow their skills with free
ment and mitigation. Comments are due December 23. education from the industry’s top thought leaders.
BSR ES1.19, Safety Requirements for Special Event
Structures, addresses structural safety for temporary struc- Featured Sessions
ture used for special events where such structures are used
for presentation, performance, structural support of enter-
tainment technology equipment, audience seating or view-
ing in conjunction with the event, and regardless if the
event is indoor or outdoor. It is being revised to correct
Stage Electrics: Clean, Making Magic With Technology:
errata, and to add further clarity to its scope and require- Safe Power for Audio, Video How the Latest Tech Helps
ments. Comments are due December 23. and Lighting Elevate the Art of Stage Lighting
In addition, a new project has been announced: -Richard Cadena -Susan Rose and Daunte Kenner
BSR E1.69, Reporting the Low-end Dimming Hosted by ESTA and Hosted by ESTA
Performance of Entertainment Luminaires Using LED Lighting&Sound America / PLASA
Proud supporters of:
Sources, shall describe a way of showing the end-user or
equipment specifier the low-end dimming performance of
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control signal varying over the low-end range from 10% to Register using promo code NAMMLIVE for a
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NAMM reinvests proceeds to grow the industry.



L-Acoustics at Trifesta

in Louisville

Held in Louisville in September, Trifesta was produced by
Los Angeles-based Danny Wimmer Presents (DWP). A
Trifesta pass served as the golden ticket to get into three
large Louisville music festivals held on consecutive week-
ends, each of which utilized an L-Acoustics K Series loud-
speaker system deployed by Brown Note Productions
(BNP) of Thornton, Colorado.

Staged at the Kentucky Expo Center’s Highland Festival
Grounds, the inaugural Hometown Rising packed in more
than 70,000 country music fans over September 14 and 15
to hear from headliners Luke Bryan, Tim McGraw, and Keith
Urban, among others. The following weekend, a crowd of
more than 90,000 attended the eclectic, three-day Bourbon
& Beyond, featuring performances from a wide variety of
artists, including Foo Fighters, Robert Plant, and Zac Brown
Band. Anchoring the final weekend of the month was the
three-day Louder Than Life, which brought out 128,000
hard-rock and heavy-metal enthusiasts to headbang along
with Guns N’ Roses, Slipknot, Disturbed, and many more.
According to BNP president Ryan Knutson, who, with
the help of Soundvision, created the system design for
Trifesta, each festival featured two similar and adjacent
stages. The primary left and right main arrays for each
stage—so four in total—were comprised of six L-Acoustics
K1-SB low-frequency extension enclosures flown over
twelve K1 full-range elements, with six K2 hung below for Photo: Steve Thrasher
downfill. Behind each of these 24-enclosure arrays was a
hang of eight KS28s flown in a cardioid configuration to

improve low-frequency directivity. For added impact, two
dozen more KS28s per stage were groundstacked down
The Powerful
below, topped by 16 Karas for frontfill, while 12 additional
K2s were used as far outfill arrays.
To further optimize coverage and control residential
noise spill for the two larger festivals—Bourbon & Beyond NX4
and Louder Than Life—Brown Note deployed three delay
towers, each flying eight K2s. This brought the site’s total
L-Acoustics enclosure count from 232 up to 256, all of IS NOW SHIPPING!
which were collectively powered and processed by 95
LA12X amplified controllers housed in custom Brown Note
touring racks.
“We designed the system based on the layouts that Les
Targonski, DWP’s director of production and logistics, had
provided us early on,” Knutson recalls. “Although the sys-
tem for each of the three festivals was very similar, we still
had to deal with slightly different layouts of stage thrusts,
barricades, and so on. With a combination of the new
Autosolver tools in Soundvision, the L-Acoustics P1
processor and M1 measurement platform, and our own
workflow for system design and tuning, we felt like we were
well-equipped for dealing with the festivals’ challenging lay-
out and central mix position. The use of the P1, in particu-
lar, was probably the most notable change in our workflow.
Having this as part of our toolbox to analyze the system
was a great addition to our normal practice of using
SMAART’s analytical software platform.
“The K1 system, especially with the LA12X amplified
controllers, delivers a quality, power, and transient response
that is world-renowned,” Knutson says. “Most, if not all, top
engineers have toured with or had great experiences mixing
on K1 for festivals like this. With its system control, filtering,
power, and tonality, it delivers a voice that is undeniable.
Other manufacturers have great systems as well, but when
you are in front of a K1/K2 system, the sound is clearly L-
Acoustics and what many engineers, like us, have come to
“Over the course of the three Louisville festivals, I had
multiple production managers and audio engineers give
kudos to the Brown Note team,” Targonski says. “From
their willingness to make adjustments for the comfort of an IT’S TIME
engineer, or the ease of an engineer simply being able to
plug in and mix because the analyzing work had already TO TAKE
been done, Ryan and his team are incredibly efficient,
accommodating, and thoughtful.
“When I called Ryan five years ago for Aftershock, I
knew what I was getting, but I needed everyone else at
DWP to witness it,” he adds. “All it took was that one festi-
val to prove a point. These days, when I advance with an
artist that has played one of our events, they will ask if OBSIDIANCONTROL.COM
Brown Note is my provider and if L-Acoustics is the PA. As
soon as I say yes, all other questions cease.”

*(7 62&,$/


New Technologies for New Music:

Meyer Sound Partners with National Sawdust

Since it launched in 2015, Brooklyn’s blast off into the future. We are looking Using a longer reverberation, Theo
National Sawdust has been heralded at a revolution in how artists create their was able to work with his own voice to
as a world-leading incubator of new music and how patrons experience it.” create improvised harmonies during an
music talent as well as an intimate per- The Constellation system compris- a capella work. Then he added in
formance venue with excellent es 86 small, full-range loudspeakers microphones with signal processing,
acoustics. The venue recently entered plus 16 compact subwoofers, for and together we experimented with
a partnership with Meyer Sound, extending the reverberation envelope moving the evolving vocal phrases out
unveiling the company’s new LINA to the lowest bass frequencies. from the stage, into the audience and
direct reinforcement, Constellation Sixteen miniature microphones provide around the room. Prestini’s work,
active acoustics, and Spacemap ambient sensing, sending signals to a Silent Light, featured a small wood
dynamic spatial audio mixing systems. D-Mitri digital audio platform that and marble tower with microphone
The enhanced sonic resources of includes a dedicated DVRAS module pickup that was sent through a regen-
the intimate auditorium—a capacity of for providing the desired room erating delay. We used Spacemap with
about 200, seated—were showcased acoustic. Although the room has an both the original and delayed signals,
during September’s opening week cele- excellent, well-balanced physical incorporating a spiraling move on each
brations honoring the 200th anniversary acoustic, it is limited by the dimen-
of the birth of composer/pianist Clara sions and materials of the space. With
Schumann. Artists Timo Andres, Nico Constellation, the room’s baseline
Muhly, Claire Chase, Theo Bleckmann, RT60 of 0.6s can be extended and
and the Young People’s Chorus of New reshaped as desired. Twelve presets
York City made use of the room’s new are preprogrammed, ranging from
Meyer Sound technologies with per- “classroom” and “spoken word” to
formances of Schumann’s music in “large concert” and “cathedral.”
addition to leading female composers Selected acoustic presets may be tai-
such as Paola Prestini, Ellen Reid, lored to suit the aesthetic of each
Missy Mazzoli, Emma O’Halloran, and piece within a concert.
Meredith Monk. The Spacemap capability employs
“With Constellation and Spacemap, the same D-Mitri DSP platform and
National Sawdust now offers an almost 102 loudspeakers to offer dynamic
unlimited palette for sonic creativity, multichannel panning throughout the
experimentation, and inspiration,” says space, with 32 input channels freely
Prestini, co-founder and artistic director assignable to any or all of the discrete- sound but at different rates, so the
of National Sawdust. “Immersive ly addressable loudspeakers. sounds climbed up and down the
sound is profound for both performers Spacemap panning can be pre-pro- walls, overlapping each other. For the
and audiences, changing our sense of grammed or implemented on the fly Young People’s Chorus of New York
space and perception and making art using an iPad interface. City, who surrounded the audience,
more of an intimate and communal “National Sawdust is the first venue we extended the reverberation time to
experience. National Sawdust is thrilled where front-of-house engineers have 2.4 seconds, which was very effec-
to partner with Meyer Sound as a lab been trained from the outset to fully tive.”
for learning, discovery, and innovation integrate the live spatial mix capabili- Even a musician’s body movements
in performance.” ties of Constellation and Spacemap can be sonically transmuted, accord-
Playing a pivotal role in forging the while working with such a wide range ing to Ellison. “With Claire Chase, we
partnership was Garth MacAleavey, of musicians,” says Steve Ellison, used Spacemap with both the delay
technical director and chief audio engi- Meyer Sound director, spatial sound. returns from her flute as well as her
neer for National Sawdust. “The way “I’m excited to watch this extraordi- backing track. Her body movement
our programming has evolved in the nary sonic journey unfold.” informed the spatial mix of the flute
last few years has been very forward- Ellison highlights how the new delay, so it seemed she was ‘throwing’
thinking,” he notes, “and now that we Meyer systems were employed during her flute sound out into the room.”
have these modular acoustic and spa- the opening concerts: “With vocalist “With Constellation and Spacemap
tial audio tools readily at hand, it’s like Theo Bleckmann, we used the space you have this marvelous sonic toolkit,”
having the controls of a spaceship to as a lab to try out a few of his ideas. comments flutist Chase, “so anything

22 • December 2019 • Lighting& &Sound America


Reliable wireless DMX control
is possible. To have that capability as
a point of departure for making some- for props, costumes & scenery,
thing new, for creating new collabora-
tions…I mean, what fun! The sky’s the since 1991 #RC4DoesThat
For concerts that benefit from
direct amplification, National Sawdust
Every RC4 device works from
also offers a new self-powered Meyer
5V to 35V to wirelessly control
Sound system based on Lina line
every kind of DC load:
array loudspeakers, the smallest
member of the LEO Family. In addition
to 10 Lina loudspeakers, the system
incorporates two 750-LFC low-fre-
quency control elements and two
UPJ-1P loudspeakers. All audio sys-
Smoothly dim
tems were installed by Sound
incandescent and
Associates of Yonkers, New York,
under the direction of Dominick Sack. KDORJHQ ODPSV.
The new relationship with National
Sawdust is the latest in a number of
partnerships that directly connect
Meyer Sound to leading arts, enter-
DMX4dim award-
tainment, and educational institutions
winning multi-tool
worldwide. The partnerships are
Position servo
established under the personal direc- dimmer includes
motors, control
tion of company co-founders John patented
and Helen Meyer. DC motors. 5& )ONU (QJLQH ,
“Both National Sawdust and Meyer
RC4 ColorMatch ,
Sound are fearless in terms of chal-
and more.
lenging the status quo in our respec-
tive fields,” says Helen Meyer. “By Dim LED tape and
putting the most advanced acoustic LED lamps with 19-bit
technology into the hands of these dimming and DMXpix dual-port pixel tape
amazingly innovative artists, we have TM
5& 'LJLWDO 3HUVLVWHQFH driver with patented
created an incredibly powerful labora-
for the pleasing 5& &XVWRP 3L[HO 3URƩOLQJ
tory for new ideas. I look forward to
look of a vintage and RC4 ColorMatch TM
an extraordinary collaboration with the
National Sawdust community of cre- lamp. to wirelessly control
ators.” up to 1000 pixels.
National Sawdust retains the name
of the industrial building it now occu- Every device is also a 900MHz or 2.4GHz
pies in Brooklyn’s Williamsburg dis- wireless DMX data receiver with the best data
trict. Purchased by philanthropist security and functional range in the world.
Kevin Dolan, the structure was gutted
and rebuilt following the design of
Bureau V Architects. Global consulting )LQG RXW ZK\ 5& FDQ RƨHU DOO
firm Arup designed the original
this with a Lifetime Warranty
acoustics of the performance space,
with a view towards future spatial
audio system integration. These archi-
tectural acoustics and room finishes
provided an excellent basis for
Disney | Blue Man Group | Roundabout Theatre Company | San Francisco Opera | Cirque du Soleil | Katy Perry
Constellation and allowed for trans-
Lincoln Center | P!NK | Madison Square Garden | Radio City Music Hall | Hartford Stage | The Juilliard School
parent integration of the system loud- Super Bowl | America’s Got Talent | The National Theatre, London | discover more at
speakers behind the room’s acousti-
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[email protected] | 1-866-258-4577


AC Lighting

Sponsors SOLVED

Super Saturday

The 15th annual Stage Lighting Super Saturday workshop,
continuing its practical and hands-on educational presenta-
tions, will take place on Saturday, February 1 at New York
City College of Technology: Entertainment Technology
Department located at 186 Jay Street, Brooklyn, New York
Super Saturday is produced by Scott Parker with the help
of City Tech.
AC Lighting is sponsoring Super Saturday. Parker says,
“I’m excited see firsthand the new Chroma-Q Color Force II
LED batten AC Lighting is planning on showing us during
our expo. I’ve been a longtime user of the Color Force line
of strip lights.” AC Lighting is a value-added distributor of
world-class lighting, associated rigging and video technolo-
gies for the theatre, film, television, worship, exhibition, and TRUSTED.
commercial markets.
The only event of its kind, Stage Lighting Super Saturday RELIABLE.
is a one-day intensive series of workshops that provide PROVEN.
practical and hands-on educational training to benefit the
interests and abilities of all involved in the application of
innovative stage, architectural, and entertainment lighting.
Intensive subjects include Stage Lighting 101, for those PATHWAY’S ROOTS began with providing robust
new to the art; the use of conventional long established
DMX distribution to lighting networks. Our vast and
luminaires; the latest LED, and traditional incandescent and
varied line of opto-splitters continue to provide the
arc source instruments; the implementation of color, special
effects, and mood and scene lighting; and choosing among HVVHQWLDO ȵH[LELOLW\ WR JHW '0; ZKHUH LW QHHGV WR EH
the myriad of helpful mechanical implements such as con-
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In addition to the workshops, there will also be a show- DQG H'Ζ1 '0; 5'0 3RUW +XE 5'0 GLVFRYHU\
case featuring approximately 20 technical specialists, as and device management as well as Merge and Hub
well as manufacturers, who will demonstrate techniques modes enhance the capabilities of simple DMX
and newly available cost-effective products. Among the
present and past manufacturing contributors, all noted for
their lighting expertise and practical implementation, are eDIN INSTALLATION REPEATERS now ship with both
ACT Lighting, ADB Stagelight, Altman Lighting, Apollo,
Barbizon Lighting, Canto USA, Chauvet Professional, City
Theatrical, DraftyApp, Elation Professional, ENTTEC, ESP,
ETC, 4Wall, GLP, High End, Lee Filters, Lex Products,
Lighting&Sound America, Nemetschek N.A. aka
Vectorworks, RC4 Wireless, Robe, Rosco, Shadowstone,
Selecon, Strand Lighting, and TMB.
Super Saturday is supported in part by media partner
Lighting&Sound America magazine. For more info on seat
booking, product exhibition, and partnership enquiries, con-
tact Parker at 212-533-3430, email him [email protected], or go to

1.403.243.8110 • PATHWAYCONNECT.COM



Launches SOLVED


for Stage to Studio Best Mix

PLASA has launched an audio mixing competition following
Stage to Studio at PLASA Show 2019, which saw emerging
artist VC Pines perform live while being recorded by
renowned engineer Jamie McEvoy (Noel Gallagher,
Placebo, The Vaccines, Liam Payne of One Direction). It’s
now the turn of professional engineers, mixing enthusiasts,
and everyone in between to compete for the best mix and
a pro audio prize. The competition is now open and is
accepting entries until Monday, January 13.


monitor your network from anywhere in the world
with your own personalized secure SixEye portal.
with critical device information such as on-line state,
Each entry will be judged by an expert team, with repre-
uptime and RDM responder count; all shown in the
sentatives from the magazines Headliner and Sound on
SixEye portal, or emailed to your team.
Sound, Genelec, Shure, Miloco Studios, and PLASA, as
well as VC Pines himself (aka Jack Mercer). The competi-
tion will award two winners, for best original mix and best
triggering events and diagnosing issues remotely,
alternative mix. The pro audio prizes up for grabs have
been contributed by world leaders Genelec and Shure. reducing travel or making sure you arrive prepared
VC Pines has generously provided the audio files from for what meets you.
his Stage to Studio performance of the single “Indigo.” His
unique blend of alternative soul, poetry, and punk has gar-
nered the support of BBC Radio’s Steve Lamacq, Lauren
Laverne, Chris Hawkins, Huw Stephens, Tom Robinson,
Cerys Matthews, and Jack Saunders, with his single
“Bones” has received airplay on BBC Radio 1. This year, he
took his career up a notch by performing on the BBC
Introducing Stage at the Reading and Leeds Festivals and
recording in the Maida Vale Studios for BBC Introducing
Find out more about the competition and how to enter
1.403.243.8110 • PATHWAYCONNECT.COM



Lighting SOLVED



Now Being


Applications for the 37th annual Hemsley Lighting
Internship Program will be accepted from January 1
through January 15, 2020. Interviews for finalists will be
held in New York on March 27.
Candidates should submit a resume, a one-page state-
ment of personal goals and anticipated benefits from the
internship, and three letters of recommendation. Digital or
paper applications are accepted at the addresses below.
Letters of recommendation may be emailed directly from
the reference or supplied with the application by mail.
The internship provides the opportunity to work in a pro-
fessional repertory situation with resident and guest design-
ers. Two interns will be selected to participate in intern
experiences, with one or more of our host organizations.
Depending on which program is awarded, internships will NETWORKED WALLSTATION CONTROLLERS that allow
begin in June or July 2020 and potentially continue until the you to snapshot four universes of E1.31 sACN or one
end of February 2021. This year’s companies include the universe of DMX512
Pittsburg Civic Light Opera, San Francisco Opera, New
York City Ballet, and Alvin Ailey Dance Theatre. CREATE a simple but powerful RGB controller with
The internship is offered to US citizens only. Applicants PLQLPDO FRQȴJXUDWLRQ XVLQJ D VLQJOH 6OLGHU ΖQVHUW
must have finished their undergraduate or graduate train-
ing, and the internship cannot be used for academic credit.
A monthly stipend of $2,750 is provided in addition to travel
The internship honors the legacy of Gilbert Hemsley by
providing a unique professional training experience to
young designers as they begin their careers. CONFIGURABLE: PHUJH ERWK VQDSVKRWV DQG ]RQHV
To submit an application or for further information please WULJJHU ZLWK V$&1 FURVVIDGH DQG SULRULWL]H EHWZHHQ
Mark Stanley performances
Resident Lighting Designer
New York City Ballet
20 Lincoln Center
New York, NY 10023
(212) 870-4205
[email protected]

1.403.243.8110 • PATHWAYCONNECT.COM

Design M.F.A.

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M.F.A. Acting, Directing, Playwriting, Production Design & Technology THEATER
Kantner Hall 307
B.F.A. Performance – Acting, Performance – Musical Theater, 1 Ohio University Drive
Playwriting, Stage Management, Production Design & Technology Athens, OH 45701
M.A. General Theater
[email protected]
B.A. Theater

Rick and Christian Sordelet, Fight Directors, Broadway
Chuck Smith, Resident Director, Goodman Theatre
Jason Ardizonne-West, Scenic Designer
(Emmy Award: NBC’s Jesus Christ Superstar Live)
Robert Barry Fleming, Artistic Director,
Actors Theatre of Louisville
Marc dela Cruz, Actor, Hamilton on Broadway
Melanie Chen Cole, Sound Designer
Alan C. Edwards, Lighting Designer
Lex Liang, Costume Designer
And many others!
ww w. ta nt ru mt he at er .o

Ohio University is an accredited member of the National Association of Schools of Theatre, URTA Member School

30 • December 2019 • Lighting& &Sound America




2019 Election


Elections for the ESTA board of directors concluded at mid-
night on October 31. Elected were Todd Spencer, PSAV, for
president; Alan M. Rowe, IATSE Local 728, returning for his
second term as organizational director; and Joe Aldridge as
individual director. Their terms of office begin on January 1,
2020 and run through December 31, 2022.
In a statement, the organization said, “ESTA and its
members wish to thank outgoing board members Jules
Lauve, of Theatre Projects Consultants, and Dana Taylor for
their dedicated service.”

 • December 2019 • 31


Allen & Heath — Avantis
96kHz Digital Mixer
Avantis is the third digital mixer based on the compa-
ny’s XCVI FPGA engine. It puts Allen & Heath’s next-
generation technology in a 64-channel/42-configurable-
bus console, with twin full-high-definition touch
screens, extensive I/O options, and processing from operators looking to build a compact system, or a
the flagship dLive mixing system. rental company with existing A&H stock, allows true
Encased in its alloy shell and tubular frame, the con- flexibility, connecting to a range of audio expander
trol surface is centered on two touch screens and corre- hardware. It is also compatible with A&H’s range of ME
sponding rotary controls. “Having two touch screens personal mixers and IP hardware remote controllers.
isn’t a new concept, but we realized we could use it to The unit is equipped with 12 XLR analog inputs and
unlock exciting new possibilities, which led us to devel- 12 XLR analog outputs, plus AES (stereo in, two stereo
op Continuity UI,” says Andy Bell, Allen & Heath’s R&D out). Two additional I/O ports allow it to benefit from
director. “Within seconds of getting hands-on with the full range of current dLive option cards, including
Avantis, engineers are going to appreciate the seamless Dante (64x64 and 128x128), Waves, gigaACE, MADI,
flow between the physical controls and the on-screen and more.
software. You can work gains and pans on the rotaries, The product includes processing tools, including
then, at the touch of a soft key, switch to EQ or dynam- compressors, EQs, and RackExtra FX units (12 slots).
ics across the whole strip. The console also provides a Upgrading to dPack expands the unit further with addi-
highly configurable FastGrab tab on the right-hand side tional dLive processing, including the Dyn8 dynamics
of each screen, offering another way to quickly and eas- engine (up to 16 instances), DEEP compressors, and
ily access control of aux sends, EQ, compressor, and the Dual-Stage Valve preamp. dPack purchasers will
effects on the currently selected channel or spot chan- automatically receive all future DEEP and FX updates
nel. Ultimately, with Continuity UI, the engineer decides free of charge, future-proofing their investment, the
how they’d like to work, not the mixer.” company says.
While many users will pair it with the 48-in/16-out Launch Video:
GX4816 audio expander, Avantis is part of the compa-
ny’s Everything I/O ecosystem, which, for owners and

Harbinger Pro Audio — employs a 10" woofer and compres- Alcons Audio —
M100-BT/M200-BT sion high-frequency driver and can put BF121 Subwoofer
Portable PA Systems out up to 120dB SPL per speaker and The BF121 delivers tight,
These products feature powered mix- 126dB SPL for the pair. In both sys- accurate bass response
ers with a variety of inputs including tems, the speakers can be configured with very low distortion. It
stereo Bluetooth, channel EQ, and as a stereo main pair or as a mono features a single 12" long-
800W (peak) stereo power amplifiers main speaker plus a mono stage mon- excursion woofer, with dou-
that deliver a big, clear, full-range, itor. Selectable speaker modes tune ble-spider suspension and
sound, the company says. Custom the speakers appropriately for either 4" voice-coil in a bass-
carry bags are included. The M100-BT application. The speakers can be free- reflex configuration. The
includes a pair of two-way speaker standing or pole-mounted on standard direct-radiating woofer is
cabinets, each with an 8" woofer and speaker stands (stands not included). mounted in a vented cham-
a compression The M100-BT’s four-channel stereo ber with large bass reflex
high-frequency mixer offers two mono channels with port for breathing capacity,
driver. Each switchable combo mic/guitar/line increasing overall output
speaker can inputs and a stereo channel with a pair while minimizing port com-
deliver up to of ¼", TRS balanced/unbalanced line pression. The frequency
118dB SPL, with inputs; a /8" stereo aux input; and range is tuned to a -3dB
a total of 124dB stereo Bluetooth input. All inputs are response from 40Hz to
SPL for the pair. available simultaneously. 300Hz and 33Hz at -10dB.
The M200-BT The unit is driven and con-

32 • December 2019 • Lighting& &Sound America


trolled by the ALC amplified loud- achieved via the professional XLR mix specific ranges between 941MHz –
speaker controller; its integrated facto- out. Control is billed as fast and easy, 960MHz. The eligibility for this band
ry presets in the drive processor offer even mid-performance, thanks to dedi- has also changed and is now open to
gain, phase, and filtering matching with cated physical controls for every critical all Part 74 licensed wireless micro-
all Alcons systems, including cardioid adjustment. The SRM-Flex Connect app phone operators. This band is the
projection control presets. The addi- allows wireless control from an iOS or same throughout the US.
tional front-positioned NL4 connector Android device; it also offers customiza-
caters for easy reverse connection in tion like front LED and metering behav-
cardioid arrays, which can be simulat- ior, presets, and more. QSC — KS118 Active
ed in Alcons Ribbon Calculator. The Subwoofer
unit is SIS pre-wired: Through the Lectrosonics — Venue 2-
Signal Integrity Sensing circuit of the 941 Receiver System
ALC, the cable length and connector This 2-941 modular Digital Hybrid
resistance between the BF121 and Wireless multi-channel receiver system
ALC is dynamically compensated (sys- is available in the recently expanded
tem damping factor 10.000), further 941MHz – 960MHz frequency band for
reducing distortion, while increasing use in the US. Other than tuning range,
response accuracy. As with the BF151 it is functionally identical to the wide-
(single 15") and BF181 (single 18"), the band UHF versions available since
product also features a four-ohm sys- 2016, the company says. It consists of
tem impedance, offering efficient the VRM2-941 host frame assembly
amplifier loading, enabling maximum and VRT2-941 receiver modules. It can Succeeding the KW181 model, the
output from a compact, single-trans- host up to six channels in 1RU and KS118 features a long-excursion 18"
ducer configuration. offers an Ethernet connection for pro- direct radiating driver powered by a
gramming and monitoring via Wireless 3,600W Class D amplifier and delivers
Designer software on a PC or Mac high sound pressure levels with
Mackie — SRM-Flex computer. The receiver is compatible dynamic and musical sound reproduc-
Portable Column PA with previously introduced transmitters tion of very low frequencies. Onboard
System in the 941MHz – 960MHz band, includ- DSP optimizes and protects system
SRM-Flex is designed for solo acts, performance while offer-
small bands, presentations, events, ing advanced capabilities
DJs, and more. The modular design such as the ability to
features a 10" low-frequency woofer in array two units in a car-
the molded cabinet base module, which dioid arrangement, maxi-
also contains the 1,300W amplifier and mizing low-frequency out-
built-in digital mixer. The three-piece put in front while minimiz-
tower houses a wide-dispersion array ing unwanted energy
with six 2" high-performance high-fre- around the sides and rear
quency drivers for clear, whole-room of the system. DEEP
coverage. The modular tower design ing SMV-941 and SMQV-941 miniature mode provides additional low-frequen-
allows the user to easily change the belt-pack transmitters, HMa-941 plug- cy extension and driver excursion pro-
height of the mid and high frequencies on transmitter, and HHa-941 handheld cessing. Highly transportable, the pre-
to match the ear level of the audience. transmitter. All transmitter models in mium birch enclosure features alu-
Two flexible mic/line inputs accept this band offer 50 and 100mW RF minum handles, and four rear-mounted
microphones, instruments, and more. power settings. The PCA900 semi- low-noise casters. A top-mounted
Also featured are a dedicated stereo directional antenna is also available, M20 threaded pole receptacle accepts
channel with dual /4" line inputs and covering the 900MHz –1,100MHz a 35mm pole for easy vertical deploy-
dedicated /8" aux in/Bluetooth stream- range, thus suitable for use with any ment with K.2 Series and other full-
ing channel. Channels 1 and 2 are 941 band Lectrosonics wireless prod- range loudspeakers. The unit is suit-
equipped with individual two-band EQs ucts. The 944MHz – 952MHz band able when space is at premium and
and reverb level controls, with three dif- was previously reserved for use by tight, low frequencies are desired. In
ferent reverbs to choose from. To tailor licensed broadcasters for studio trans- other situations, where excessive
the entire system to an application, mission links, along with some wireless sound in specific areas is undesirable,
there are three voicing modes available microphones and IFB (interruptible the unit’s low-frequency cardioid radia-
at the push of a button. Connecting to a foldback) systems. This band has now tion can be extremely useful.
second SRM-Flex or house PA is been expanded by the FCC to include • December 2019 • 33


Rosco Laboratories —
MIXBOOK Digital Swatchbook
MIXBOOK is billed as the world’s first digital swatch- Bluetooth connection with the myMIX app, Mixbook
book, allowing filmmakers to previsualize their gel and allows users to actively explore how their color choices
LED colors, then communicate their choices to other will interact with other on-set elements, such as talent
members of the team. The product contains the same and scenic elements, and continue to modify their
proprietary six-chip LED technology found in DMG choices through the app. Once the desired color has
Lumière MIX fixtures, which, the company says, been achieved, users can save their colors to the cloud
ensures perfect color matches between MIXBOOK and and share them with their team.
MIX lights. Key features include full-spectrum white light from
The product is controlled by the myMIX app, which 1,700K — 10,000K; a proprietary combination of six
is available as a free download for iOS and Android LEDs (phosphor-coated red, green, blue, white, phos-
devices. With it, a user can generate a desired color by phor-coated amber, lime) for a wide color gamut and
adjusting hue, saturation, and intensity levels, or by over 130 true Rosco Color gel matches. The product
selecting XY values and sending that color to Mixbook. measures 3.9" x 2.3" x 1" and weighs 3.0oz.
One can also choose a color from an image in a photo
library with the app’s capture function. Through a

ADJ — Focus Beam LED which remains uniform over tremen-
ADJ expands its Focus Series of LED- dously long projection distances. The
powered moving head fixtures with unit includes a variety of beam manip-
this new unit. The first dedicated beam ulation tools including the 13-position
fixture in the range, it generates a (plus open) dichroic color wheel, which
highly concentrated solid beam for features a mix of vibrant saturated
aerial effects. Powered by an 80W hues and more subtle muted tones, as distros or can be installed in the field
white LED light source, with a color well as a CTO filter. A separate gobo in third-party devices due to its UL list-
temperature of 7,400K, the product wheel is loaded with 15 fixed metal ing. It is available immediately as a
features an advanced optical system patterns (plus open). These include stand-alone unit or can be included in
that creates an output comparable to four beam reducers, allowing the cre- an EPS power distribution unit from
an MSD 5R lamp. The large front lens ation of narrow beams and a diverse Creative Stage Lighting.
projects a beam with a 5° angle that collection of simple patterns that have
has an even field with no hot spots, been selected for generating sharp
mid-air effects. Elation Professional — Paladin Flood/Effects Units
dMBw Elation announces three new lumi-
naires in its Paladin series of
wash/blinder/strobe lights. The Paladin
Creative Stage Lighting — Cube, Paladin Brick, and Paladin
EPS DVA300 Smart View Panel—all with IP65 protection—are
Power Meter compact outdoor flood lights useful for
A UL-listed two-space rack-mount unit applications ranging from stage/set
for monitoring three-phase power in washes to dynamic uplighting and eye
portable or installed applications, this candy effects. Using 15W RGBW
product enables convenient monitor- cells—nine, 24, and 50 respectively—
ing of voltage across all phases simul- they add color to outdoor events while
taneously. Split-core current trans- individual cell control and strobe make
formers are included for either 200A or them flexible effect units or audience
400A metering capabilities. The meter blinders. RGBW color mixing gives a
can be installed in existing EPS power full spectrum of color options, includ-

34 • December 2019 • Lighting& &Sound America


what was outstanding. It was quickly a macro system that allows users to
determined that it was time to commit choose from a library of different pat-
100% to complete the 64-bit archi- terns; once selected, up to three col-
tecture for R43. With this architecture ors can be selected for use in the
update, stability and performance pattern. These patterns will display
increase can be noticed across all over the background of the fixture,
modes, the company says, including which is also completely user-control-
CAD, DATA, DESIGN, PRES, LIVE, lable. Effect speed and fade rate add
with more responsiveness and less the final touches, giving the user a
delays when switching modes and massive level of control for fixture
tabs. This update removes the limita- face looks.”
ing high-impact white light. Multiple tions that are associated with a 32-bit
pixel zone control can be incorporated software, specifically the amount of
for pixel-mapped and eye candy memory available to the application. Chauvet Professional —
looks. The Paladin Cube houses nine WYSIWYG can now utilize more than COLORado Solo Batten 4
15W RGBW cells with 3 x 1 cell con- 4GB of memory to open files. This product is designed for tours, fes-
trol. Output for such a compact unit is tivals, churches, theatres, and other
at 3,200 lumens and operation is com- applications. The four-cell batten fea-
pletely noiseless, the company says. It High End Systems — tures seamless end-to-end RGBAW
measures 9.8" x 7.8" x 5.5" and SolaPix 7/SolaPix 19 Wash color mixing with no separation or
weighs 10.5lb. The Paladin Brick Luminaires dimmed lens corners. The fixture’s
houses twenty-four 15W RGBW cells crisp looks and homogenized light
with 3 x 2 cell control. With it 9,600- make it suitable for creating engaging
lumen output, it is can wash larger backgrounds on stage, the company
areas, while its broader face makes for says. It can also be used to outline
a flexible strobe/blinder or dynamic entire stages and scenic elements in
eye candy effect. The Paladin Panel addition to accenting truss structures.
houses fifty 15W RGBW cells with 5 x Thanks to its compact size, the
2 cell control. Its 21,300-lumen output 14.65"-long fixture can be arranged in
makes it useful as a high-output wash
light for covering large areas from a
distance, the company says, or as a
blinder, strobe, or eye candy effect. These units feature an additive RGBW
LED color mixing system for powerful
saturated colors and tunable white
control, a versatile 4.5° – 60° zoom
range, FleX Effects Engine, and pixel
mapping on all models. Automated
lighting product manager Matt Stoner
says, “Ever since High End Systems
created the pixel wash with our
ShowPix fixture, it has been an inte-
gral part of lighting rigs of all types.
The SolaPix family builds on this vertical or horizontal configurations,
CAST Software — technology by introducing new optics even in tight quarters. Its IP65 rating
WYSIWYG R43 and next-generation brightness in a makes it suitable for temporary out-
CAST Software announces WYSI- fixture that is far more versatile than door applications. The unit can be
WYG as a 64-bit application, now ever before. The lenses and efficiency controlled via Art-Net, DMX, Art-Net to
available on the CAST members area have been maximized, plus the size DMX, sACN, or RDM. Developed to
for download. In January 2019, the and footprint have been minimized. complement the company’s
WYSIWYG development team evalu- SolaPix also features HaloGraphic COLORado Solo Batten, it is also a
ated the status of this project, specifi- Pixel definition, the newest patent- wash fixture, producing bright,
cally the percentage of WYSIWYG pending innovation from High End. smooth, and even field of light.
modules converted to 64-bit versus The fixture’s FleX Effects Generator is • December 2019 • 35


Management Solution
This product eliminates messy wires and extension
cords. Designed for controlling the power supply to
lighting and audio equipment, it is suitable for use in
installations as well as at front-of-house and monitor tablets, and other USB-powered products like a goose-
mixing positions, lighting desks, and in mobile enter- neck light—as well as a reset switch for the internal cir-
tainers’ setups. cuit breaker.
Building on the heritage of ADJ’s PC-100A, the unit Each rocker switch features a green LED, making it
expands the ADJ POW-R BAR range, which also easy to see which outlets are currently active, even in
includes the touring grade POW-R BAR65 utility power dark working conditions; the unit also has a red LED to
block and POW-R BAR LINK linkable power block. indicate that it is connected to a power supply. A 4.5'
The product features eight 3-prong 120V Edison power cord is wired to the rear panel and the device
sockets on its rear panel, which correspond to eight offers a maximum total load of 15A (1,800W) spread
rocker switches on the front. In addition, there are two across its ten outlet sockets.
further three-prong Edison sockets, one on the front The compact product measures 19" x 4.44" x 1.75"
panel and one on the back, which are always on when and is designed to fill a single unit of rack space. It
the unit is receiving power. The front panel also fea- weighs 4.2lb.
tures two USB ports—suitable for charging phones,

Rose Brand — ADC T-Lift ly silent, snarl-free operation without
2.0 Automated Curtain sacrificing strength, capacity, or safety.
Rigging System The motor and drive are contained
The newly redesigned ADC T-Lift 2.0 is within a 14" drive module. Users
suitable for permanent installations choose pendant control, show control,
and packaged for touring. It has sever- or the ADC multi-position touch-
al new features that enable faster screen controller.
installation, greater flexibility, and qui- 10DJ-UK, which offers Type G out-
Penn Elcom — Slimline lets—13A (for the UK, Ireland, Malta,
Power Distribution Units Malaysia, and Singapore) each limited
This range of 1U rack mounting units to a 13A maximum load. For 16A
is billed as combining all the power loads, the sockets can be replaced
and practicality of ten switchable out- with blue C-forms. The PDU16-10DJ-
put sockets—available with different EU has Type E / outlets with 16A load-
eter operation. The system is housed socket outlets—and a range of power ing for Europe, France, Belgium,
in customized modular sections of 14" ratings between 10A and 16A. The full Poland, Russia, the Czech and Slovak
“U” truss that make it third-pack mod- catalogue of Penn PDU devices now Republics, etc. PDU16-10DJ-US fea-
ular, easy to ship, and easy to handle includes these four new slimline vari- tures Type B outlets for 15A loads and
onsite. The completely open bottom ants plus four other 2U devices, all of use in the US, Canada, Mexico, and
truss provides virtually zero limitations which are designed to flexibly assist Japan. PDU16-10DJ-AU is fitted with
on placement of sheaves and lines full connectivity in a array of scenarios. Type 1 outlets offering 10A maximum
because nothing gets in the way, the Each of ten switchable channels is load distribution for Australia, New
company says. Users push the truss protected by a thermal current over- Zealand, China, and Argentina. For
sections gently together and the shaft load trip switch, and each numbered 16A use, these can also be replaced
self-aligns instantly for swift coupling. channel has a dedicated rocker switch with blue C-form outlets. Each unit is
Tool-free attachment of the lift lines to with a neon indicator light, so users supplied with a 1.8m-long power
sheave assemblies allows users to can spot immediately whether if a load cable, complete with a choice accord-
leave the lines rigged into the curtain is present—or not—in bright and dark ing to country/region.
to quickly rehang the drape at every light conditions. The four standard
tour stop. Flat line, ½" nylon wedding slimline PD units available from stock
replaces aircraft cable, providing near- via Penn Elcom Online are the DU16-

36 • December 2019 • Lighting& &Sound America


ship markets. The kit is built around a 20,000 hours. It comes equipped with
4k/UHD matrix switcher with four frame interpolation for fast-moving
HDMI inputs and four matrixed images, along with a wide lens shift
HDBase-T outputs each with a mir- and support for a range of optional
rored HDMI. It includes four HDBase-T lenses (sold separately), including a
receivers that are powered from the zero-offset ultra-short-throw lens. It
matrix and four 75' Cat 6A shielded also features a robust stainless-steel
Arista — E-Vocal Duo+ cables that have been individually cer- frame body structure for added dura-
Audio-over-IP Products tified for HDBase-T compatibility. Any bility.
This product group consists of three source is accessible at all times by any
models. The E-Vocal Duo+ ARS-0202- display by selecting it via the supplied Chauvet Professional —
A00 connects one’s legacy audio gear IR remote control, RS-232, TCP/IP, or F5 IP/F2 LED Video Panels
to the Dante world. It facilitates two by using the selection buttons on the The company expands its F Series
channels of analog audio input to be front panel. The matrix supports reso- LED panels to offer solutions for a
integrated into a Dante network and it lutions up to [email protected] and wider range of applications with the
also converts a Dante stream into two LPCM7.1ch, Dolby TrueHD, Digital introduction of two new products. The
channels of analog audio output sig- Plus, and DTS-HD digital audio for- highest-resolution panel ever offered
nal. It is equipped with an RJ45 cop- mats. Input mapping can be changed by the company, the slim-bodied F2 is
per network interface. The E-Vocal by front panel buttons, the included IR suitable for applications where clarity
Duo+ ARS-2020-A11 and E-Vocal remote or RS232 serial commands. It is essential from any viewing angle,
Duo+ ARS-2020-B11 are both dual is compatible with all Tekvox control even at distances as close as 7.5'. Its
XLR microphone to Dante interfaces and user interface solutions. HDBase- black-bodied LEDs reproduce video at
that deliver studio-quality fidelity and T outputs transmit video, audio, and 14-bit grayscale, oper-
low noise performance for dynamic or control up to 230'; cable lengths can ating on an A5s
condenser microphones. Two audio be customized at order time for pre- Novastar card, for a
signal outputs enable lip-sync delay of cise installation. clear, realistic display
up to 170ms/ch (fs = 48kHz) to syn- of even the most
chronize the audio stream to the video Epson — Pro L20000UNL detailed content, the
stream. Both units have a built-in Projector company says. (An 18-
Web-based controller for microphone This product expands the company’s bit Novastar card can
gain control and lip-sync delay control. large-venue Pro L laser projector line- also be used.) High-
The E-Vocal Duo+ ARS-2020-11 is up, delivering premium projection with performance digital
equipped with an RJ45 copper net- enhanced installation tools in a com- LED drivers deliver a
work interface while the E-Vocal Duo+ pact form factor. It features inter- 3840Hz refresh rate for
ARS-2020-B11 has an SFP connector changeable interface boards; a sealed flicker-free images,
for fiber interface, which is suitable for light engine and optical unit for the while a maximum illu-
those times when it becomes neces- most demanding environments; pow- minance of just under
sary to extend the connection dis- erful software for simple multi-projec- 1,500 nits ensures a
tance. tor setup; and compatibility with bright output. The
Epson’s current lens family to allow panel also features a contrast ratio of
TEKVOX — 79055-K 4x4 easy integration with existing lens 8,500:1 and pixel density of
HDMI/HDBase-T Matrix fleets. The unit features full HD 112,896/m2. The F5 is IP65-rated for
TEKVOX has added the 79055-K, a WUXGA resolution and up to 20,000 reliable outdoor use. Working with the
kitted and ready-to-use 4x4 lumens of white and color brightness. VIP Drive 43 Nova using the Novastar
HDMI/HDBase-T matrix, to its product It incorporates a laser light engine and control protocol, its black-bodied
line to meet the needs of the educa- electrostatic air filter to provide virtual- LEDs accurately reproduce video at
tion, corporate/conference, and wor- ly maintenance-free operation for up to 14-bit grayscale, operating on the
Novastar A5 receiving card. With a
1,920Hz refresh rate, maximum 6,000
NITS illuminance, and 12,000:1 con-
trast, it is suitable for displaying bright,
powerful images at outdoor festivals.
Both feature optimized heat distribu-
tion across the entire panel for
enhanced color quality. • December 2019 • 37





38 • December 2019 • Lighting&Sound America

A top design team devises a unified approach to a
musical about the star’s tumultuous life and times

By: David Barbour
Photos: Manuel Harlan
B roadway has seen many pop star bio musicals, at the time for a female performer in her 40s—culminating

but none quite like Tina: The Tina Turner
in a happy and long-lasting marriage to the marketing
Musical, which roared into the Lunt-Fontanne
executive Erwin Bach. Such an eventful life provides the
show with a natural dramatic spine, with the score and
Theatre in November, following successful runs
in Hamburg and London. The show benefits
from a score of Turner’s indelible hits and
Tina, the musical, also made for a tricky staging propo-
Adrienne Warren’s scorching performance in the title role. star providing additional glitter.
sition. Tracking Turner’s progress from Nutbush, Tennessee
But it is also a knottier, more adult proposition than many (where she was born Anna Mae Bullock) to the global
of its predecessors. Among its distinguishing characteris- stage makes for an unusually rangy show that required
tics is a book—by Katori Hall, with Frank Ketelaar and plenty of cunning on the part of the design team, which
Kees Prins—that paints an unvarnished portrait of the title includes Mark Thompson (scenery and costumes), Bruno
character’s marriage to the controlling, physically abusive Poet (lighting), Jeff Sugg (projections), and Nevin Steinberg
Ike Turner; it also doesn’t shy away from portraying Tina as (sound). Working together—they were, by all accounts, an
vain, indecisive, and demanding at times, especially during unusually happy and collaborative crew—they have creat-
her years spent in the show business wilderness. ed a constantly shifting environment for a musical that
But, as practically everyone knows, Tina Turner fought straddles the line between book musical and rock concert.
back, enduring some distinctly thin years before making an The result is a gripping review of Turner’s years of struggle
astonishing return in the early 1980s—a rare achievement and triumph.

Above: The church scene in Nutbush, Tennessee is rendered with typical economy, using only a tree and a handful of chairs.
Opposite: Phil Spector’s recording studio, scene of a key epiphany, requires a more detailed set design. • December 2019 • 39


Scenery/projections looking for a way of telling the story within an expanding
You will look long and hard to find another musical that and decreasing black box,” Thompson says. “It was so we
requires as many locations as Tina. It unfolds in flash- could have a big space occasionally, while scaling down
back—everyone interviewed for this story referred to it as for more intimate scenes. I was also quite keen on being
a memory play—as the star waits to take the stage at her able to create panoramic horizontal shots.” Thus, there are
legendary 1988 concert in Brazil, where she appeared four black portals, outlined in a pale wood look, that
before a Guinness World Record-breaking audience of expand and contract from scene to scene. “They work like
188,000. Between this brief prologue—staged in a dark a camera,” Thompson says. “It looks very simple but it’s
void, with a set of stairs leading to an entry through which quite a complicated trick. Basically, each portal has two
we see glittering lights—and the finale, which explodes on legs with a header that slides between them; the header
the Brazil stage, the story shifts from a rural Tennessee has a male overlap that grips down, past the legs; they are
church to various domestic interiors, nightclubs, recording covered by sleeves that are part of the header. Each portal
studios, hotels, airline ticket counters, and hospital rooms. has LEDs built in it, but you only see their glow coming
“There are so many locations,” says Thompson, laugh- from behind the slot that holds him. That way, they aren’t
ing quietly. “It was an impossible project; it’s written like a glary; I didn’t want it to look like Radio City Music Hall.”
movie. And there’s no allowance for theatre slowness. This Within the portals, each location is sketched in eco-
was the main thing to solve, especially because I wasn’t nomically, using a wagon that rolls on from the wings and
keen on having lots of scenery rumbling onstage.” Indeed, wall and door units that rise up from below. Turner’s home
such an approach, in addition to busting the production in Nutbush, Tennessee is little more than a tree against a
budget, would have slowed the action to a crawl. sky vista; a set of chairs brought onstage transforms the
Instead, the designer came up with a remarkably ele- space into a church. A door unit and wagon, the latter
gant solution that consists of three main elements. The bearing a table, becomes the interior of the Bullock house.
first involves a strategy for reshaping the stage. “I was Similarly, a wall unit and wagon delineate Tina’s bedroom

The actors are fitted with DPA 2028 mics and Sennheiser Digital 6000 wireless systems.

40 • December 2019 • Lighting&Sound America

A key portion of “RIver Deep, Mountain High” is backed by a projection sequence featuring pulsing, highly colored acoustical panels.

in St. Louis, where her mother lives following her divorce. a cloth, but it looked too glamorous.” The designer makes
Ike is introduced in a scene featuring a band wagon and a good use of a turntable, first when Tina and her fellow
curtain. “The wall unit is a goalpost that is guided up and musicians sing “I Want to Take You Higher,” circling a bed
down, as is the door,” Thompson says. In its under-the- in the center where Ike commits serial adulteries, and at
stage position, each goalpost is fitted out with new dress- the top of Act II, when, performing “Private Dancer,” Tina is
ing, then it rises into its onstage position. surrounded by a series of men, staring and groping at her.
A major exception to this scheme is the recording studio Thompson also provides a stage set for the New York
run by Phil Spector, where Turner has a life-changing club The Ritz, where Tina finally gets the attention of a
epiphany. It’s a much more imposing design, a dark, multi- skeptical recording industry. From there, it’s a short step to
level structure treated with acoustical panels. Tina, still under the final coup de théâtre: The action returns to the void of
Ike’s thumb, looks rather lost in the space. “That’s why she’s the first scene. It is showtime and, following a blinder cue,
wearing that slightly bizarre velvet pantsuit,” Thompson the black drop flies out and the darkness is dispelled to
says. “It makes her look vulnerable. I also wanted to make reveal a multilevel stage set representing the Brazil gig.
Phil Spector look like another Svengali; he sits on the sec- (Interestingly, Thompson says, the idea of illuminated steps
ond level, the puppet master up there.” While recording in darkness was inspired by Stairway to Heaven, aka A
“River Deep, Mountain High,” she is stopped by Spector, Matter of Life and Death, the 1946 fantasy film, directed by
who gives her, possibly for the first time, a note that Michael Powell and Emeric Pressburger, that is a postwar
acknowledges her unique talent. (He tells her to sing like British classic.)
“you’re singing to the god in yourself.”) In Warren’s perform- The memory theme is also expressed in the show cur-
ance, you can see the mental click, a moment of self-aware- tain, which contains an angled view of the top half of
ness, that is, in effect, the birth of a star. It is also the begin- Turner’s head, rendered in a style that recalls an Andy
ning of the end of her marriage to Ike. Warhol silkscreen portrait. “It’s a real photograph of her
Another large-scale set is the Vegas stage where Turner, that I found and cropped,” Thompson says, “We did a lot
having struck out on her won, toils away in a third-rate of Photoshopping of it; the idea is that she’s looking into
revue, belting “Disco Inferno.” “In London and Hamburg,” her past.” (The production’s scenery was built by PRG
Thompson says, “we had another Vegas scene, in front of Scenic Technologies, using the Stage Command automa- • December 2019 • 41


Poet says he created “a rig of possibilities” to provide naturalistic lighting for the book scenes and flamboyant concert effects for the
in-performance scenes.

tion control system. Additional scenery was built by Proof they get out of range.” This approach is visible in a scene
Productions and ShowMotion Fabricators.) outside a motel that won’t accept Ike, Tina, and the rest of
The third element contained in Thompson’s scheme is their company. Seen in the distance, it has a soft glow that
the projection design, by Jeff Sugg, which provides scene- makes it seem tantalizingly out of reach. The first act con-
setting details—Tennessee skies, St. Louis streets and sky- cludes with a nightmarish sequence in which a beaten,
lines, a motel exterior glimpsed at night—along with bloody Tina, wearing little more than a slip, flees Ike after a
abstract imagery to back up the onstage numbers. None of knock-down-drag-out battle, staggering along a highway;
the images are too literal, however: Sugg says Thompson behind her is a menacing-looking montage of automotive
requested that everything should be “soft, subtle, and sug- lights, an effect that adds to her sense of disorientation.
gestive. They aren’t about providing more scenery.” “It’s like a dream and it’s terrifying,” Sugg says.
Sugg, explaining the design rules, says his work breaks Sugg who first worked with Thompson on Charlie and
down into three forms of expression: “We’ve got actual the Chocolate Factory, seen at the Lunt-Fontanne in 2017–
locations, the concert moments, and the Etherland world,” 18, says that by the time he came onboard for Tina, “Mark
the latter being Hall’s name for private moments inside had basically developed the general structure. The first
Tina’s head. Because the action “is made up of memo- time I saw it, the design was more elaborate but still a ver-
ries,” the designer says, “we don’t need to see every piece sion of what we have now, with the portals and the walls
of them clearly; we just need a little bit of reference.” coming up through the deck.” The Hamburg and London
Indeed, he adds, “Hyperreal imagery is a problem for productions utilized the same basic concept, but, because
me; I always want to find a better solution. We treated the the Lunt-Fontanne has a notably long, narrow auditorium
[upstage] video screen as if there was a focal plane, hav- dominated by a large mezzanine that creates a consider-
ing many of the scenic backgrounds become blurrier as able overhang, Sugg added a second video screen above

42 • December 2019 • Lighting&Sound America

the proscenium. “There’s a huge truss up there that ber went through several permutations,” he notes. “I start-
Natasha Katz had built [for The Little Mermaid] and it pro- ed with stuff that was almost photorealistic, sort of depict-
vides a much steeper angle for the front-of-house fol- ing the majesty of the Great West. That didn’t last long. I
lowspots. We put an LED screen on the downstage; it’s took Mark’s acoustic panels, and using them as a base,
used only during the concert finale.” In addition to chases went onto Spirographs”—a reference to the geometric
featuring white horizontal bands and star-shower effects, drawing toy that was popular in the 1960s. “It was easy to
this sequence uniquely presents live IMAG of Warren, the get the soundwave form and extrapolate it; Gabriel
onstage musicians, and other members of the company: Aronson, one of my animators, took it over the top.”
“With the higher screen, you can see everything that the Another eye-grabbing look is the two-story-tall “TINA” that
audience gets downstairs, plus some additional chunks looms behind the bandstand in the concert finale.
that give good closeups of the sax and guitar players and The most mind-bending effect occurs during “Private
[Skye Dakota Turner], who plays little Anne Mae.” The Dancer.” The video screen shows a series of revolving
IMAG is captured using a Blackmagic Design Micro Studio stripper poles that ultimately reconfigure into additional
Camera 4K on a Rushworks PTX Model 2 pan/tilt cradle portals, seemingly extending Thompson’s design to the
“located about 15' off center on the balcony rail, near infinity point. “That’s a really fun effect,” Sugg says, adding
house right,” Sugg adds. that it is indicative of the overall design collaboration.
The designer chose to render the live IMAG by render- “Often, you make a piece that feels cohesive and of one
ing it in black and white, giving it a distinctive quality. world—and then you get into tech and all of that dissolves
Otherwise, his imagery for the performance sequences is around you. This show held together; the glue stuck.” He
kicky, colorful, and thoroughly in period. “Proud Mary,” attributes this in no small part to Phyllida Lloyd, the direc-
which includes the lyric “Big wheels keep on turnin’,” is tor. “Her guiding principle is to fill the room with people
backed by spinning disks marked by saturated color you trust as artists and human beings,” he says.
stripes; these contrast nicely with the vertical honeycomb Projected imagery is delivered using six Panasonic PT-
sliders that fill out the look. He also opts for psychedelic RZ21K units—two from the balcony rail, converged for hit-
liquid light shows and, in “River Deep, Mountain High,” a ting automated drops and scenery, and four placed over-
variety of Op Art effects throbbing, highly colored sound head on moving electrics, focused on the stage deck; the
waves on an upstage wall; the latter then rises to reveal a really big-ticket looks appear on the upstage screen, which
network of colorful, pulsing acoustical panels. “That num- consists of ROE Visual Black Onyx. The front-of-house

Scenery and video work together in “Proud Mary.” The disks on the upstage video wall spin, in keeping with the song’s lyrics. • December 2019 • 43


The Brazil concert finale features a two-level set, an enormous “Tina” rendered on the video screen, and plenty of lighting effects.

LED screen consists of Vanish 8 video panels. The system Speaking of this setup, Sugg says, “We re-output all our
is driven by two disguise [formerly d3 Technologies] content using the NotchLC codec, which made a tremen-
2x4pro media servers, which are triggered through the dous difference. Basically, the problem with LED panels
show’s lighting console. Also in the chain are five can be the banding and gradient colors you get, which
Brompton Technologies Tessera M2 processors, which also translates to banding in any smoke and blur effects. I
help to guarantee consistent color values across all the originally added a little color noise on top of the images, to
panels. get a degree of banding that was tolerable, if not invasive.

44 • December 2019 • Lighting&Sound America

he says, “gives me a degree of flexibility that helps me to
do my job. This is my first PRG show, and they were really
great in getting us the gear. Also, Asher Robinson [produc-
tion video engineer] is a big fan of Barnfind Technologies;
you create a fiber distribution system for the room and
then, utilizing their StageBox, you can customize which
type of signal you are receiving at each location: SDI, net-
work, audio, control, etc.”
In terms of the show’s network, Sugg adds, “The vast
majority of the cues are done through the lighting console,
although some are done with SMPTE time code.” It’s
another example of the interconnectedness that makes the
design work.

Just as Thompson and Sugg had to find a way of render-
ing so many locations, Poet had to come up with a system
that could deliver the requisite time-of-day looks along
with high-energy rock concert eye candy. Indeed, he
notes, Tina “is written as much as a play as it is a musi-
cal.” He, too, invokes the term “memory play,” which
explains the graceful way that the lighting design cuts
across time, space, and performance styles, from natura-
listic kitchen interiors to the mad excess of the concert in
Brazil. The action, he adds, “has to be fluid because what
we’re seeing are, essentially, fragments of her memory.”
He adds, “Every scene had to have its own shape,” for
which he had to “build a rig of possibilities.”
Poet adds that, just as Thompson’s scenery, which he
describes as “not a black box but a magic box,” can
“shape and scale and frame the space,” the lighting con-
stantly pulls focus to highlight the actors. His design also
takes into account the fact that “many of the stage pic-
tures are balanced between lighting and video.”
One gets a good sense of Poet’s approach during the
prologue, in which lighting isolates Turner in an otherwise
dark void as she waits to go onstage. Next, the action
flashes back to Nutbush, Tennessee, with a church service
taking place in sweltering Southern heat. From there, it’s a
constant back and forth between looks informed by loca-
tion and/or time of day to those shaped by concert lighting
styles. At the same time, the designer notes, “I resisted
doing the concert ideal of spots and washes, instead
using clusters of units to carve out the actors in what I
would call a National Theatre play manner.” He achieves
these effects with GLP impression X4 Bar units that func-
tion as light curtains, wiping the stage and shaping and
But when we ran the content through NotchLC, the band- pacing the action.
ing was totally gone; the color noise I added was irrele- Poet says of the in-performance scenes, “I went back
vant. I left a bit of color noise on certain images, to make to the way concerts were lit in the 1960s and ‘70s.” In
them look like the 1970s, but I don’t need it from a cover- them, the automated units don’t move; instead, the
my-ass standpoint. The disguise folks were very helpful, as designer evokes the old-fashioned PAR can look of the
was Notch, in getting it going.” era. The movers don’t really get to take off until the Brazil
The combination of Notch and Brompton processing, concert finale, although the designer makes an exception • December 2019 • 45


for the Etherland scenes, which, in their interiority, have a Sound
kind of fantasy element. When he last appeared in these pages, Nevin Steinberg
The automated portion of the rig relies heavily on Martin discussed his co-design (with Jessica Paz) of the jazz-dri-
by Harman MAC Encore Wash units, which, Poet notes, ven musical Hadestown; as you might imagine, Tina poses
provide the tungsten warmth that is especially needed for a very different challenge. To support the show, he says, it
the early scenes. Balancing these are Martin Mac Encore was necessary to design a multifaceted sound system.
Performance CLDs, for colder looks as needed, and Mac The current production, Steinberg adds, represents the
Auras to add pizzazz to the finale; the latter units are hung most fully refined version of the Tina sound design. It is
vertically on the bandstand set. also tailored to the singular footprint of the Lunt-Fontanne:
One of the most novel (and amusing) aspects of the “It has a long, low balcony overhang, which makes the
lighting rig is a set of Portman Lighting P2 Hexalines; the seats in the front of the mezzanine very good. Because the
product is a retro-style vertical striplight, each featuring theatre is so deep, we have a lot of ground to cover; for
six hexagonal openings. The units have become popular Broadway, we increased the size of the delay system, aim-
in the concert market—see last month’s story about ing for more power to reach the back of the mezzanine.”
Hozier’s recent tour—but are entirely new to Broadway. Also, Steinberg notes, the show covers several musical
“They give a really big scale,” Poet says, “and they offer eras, beginning with classic gospel and soul but veering
the contrast of warm, beautiful tungsten glow against into disco and a 1980s synth-pop sound. As a result, he
the rest of the rig, which is entirely made of LED units.” adds, “We needed to have a certain agility in the sound
The units, which are hung around the proscenium and system, as well as in terms of mixing and orchestrations.
also on the Brazil concert set, provide the extra bit of Everything has to do triple and quadruple duty.” An espe-
glitz that pushes the already-electric finale over the top. cially daunting challenge, he says, is “the concert at the
Along with Sugg’s second tier of video panels aimed at end, which is almost a stand-alone aspect; it has to feel
the mezzanine, Poet also installed a second set of like you’re at a Tina Turner concert and we have to deliver
Hexalines. the goods.”
Poet uses Robe T1 Profiles, with handles attached, as Steinberg also cites Phyllida Lloyd’s vision for the show
his followspots. He says he didn’t consider using an as a determining factor. “She was explicit about how she
automated followspot program, in part because there are wanted it to sound,” he says. “That translated directly to
“such skilled operators on Broadway.” He adds, “What I the design,” which requires a system that can fulfill four
like about the T1 is you can take out the frost and it is different functions, or “looks.” As he explains, “We have
bright enough to pick out people and details. You can the play system, to deliver the non-musical scenes; these
also tone it in to match the look of the scene.” These are as lightly amplified as we can get away with in a mod-
units provide the only front light in the show; most of the ern musical theatre environment. The second look is closer
rig is found in overhead, side, or front-of-proscenium to a traditional musical theatre approach, in which the
positions. The Encore Wash units, for example are character is singing as part of the plot. The third look is
placed in left-and-right side positions to sculpt the per- used when Tina, Ike, or the Ikettes are doing television,
formers. studio, or concert work, as part of the plot. The fourth look
The show features plenty of atmospheric effects, includ- is the full-out sound of the concert finale.”
ing MDG ATMe foggers plus a set of Look Solution Unique All four looks are achieved using the same system, but
hazers, the latter built into the deck to create swirls of low- each is distributed differently, Steinberg says. “There are
lying effects. Also used are City Theatrical SHoW DMX different degrees and different proportions of amplification.
Neo wireless DMX transceivers and QolorFLEX SHoW For example, there’s a mono center system, with wide
DMX Neo 4x2.5A dimmers for wireless effects. coverage, for play reinforcement, and there are large-scale
The lighting is controlled by an ETC Eos console, which, line arrays at left, right, and overhead, which we rely on for
as mentioned earlier, triggers the disguise media servers. the performance systems. The farther away you get, the
“We take a few MIDI triggers from the sound department,” more the delay systems have to do more work for all of the
Poet notes, adding that approximately 800 cues are called looks. Also featured is a surround system: “It isn’t used in
during the course of the evening. the dramatic scenes, but gets implemented progressively
Poet also mentions the advantage of having done Tina during the show, as we move in and out from an immer-
in Hamburg and London. Before the move to New York, he sive sound to a more two-dimensional sound. It’s a
adds, the programmer, Max Narula, “spent two weeks dynamic system we’re using in a living, breathing way, fad-
going through the London show file, so we had a basis to ing in and out for transitions.”
work with; there was no real programming time once we Designing this system “was part of the fun and one rea-
were in New York. Hats off to the Broadway technical team son why I took the job,” Steinberg says. “It was something
for working at such a fast pace.” I hadn’t tried before.” The loudspeaker system relies on

46 • December 2019 • Lighting&Sound America

gear from d&b audiotechnik’s V-Series and Y-Series, tion electrician), Mike Wojchik (production sound), Julie
including V10P, V7P, V8, and Y12, Y8, Y7P, and E8 boxes, Sloan (head sound), Scott “Gus” Poitras (head
plus J-SUBs and J-INFRAs, for the lower end, and Alcons carpenter/deck automation), Alex Joans (head electrician),
Audio VR8, VR5, and SR9 cabinets serving as the delays. Chelsea Zalikowski (production video), Zach Peletz,
Loudspeaker processing is handled by a d&b DS100 sys- Matthew Mellinger (video programmers), Jon Rodriguez
tem. Sound gear was supplied by Sound Associates. (assistant carpenter), Reece Nunez (assistant sound), Buist
The cast members are miked using DPA d:screet CORE Bickley (production properties), Alison Mantilla (assistant
6061 lavalier mics connected to Sennheiser Digital 6000 production properties), Christopher DeLuise (head props),
wireless systems. As the action moves across nearly four Zack Tomilo (assistant props).
decades, with their consequent changes of costume, the Officially posting blockbuster numbers on a weekly
wardrobe and sound crews have their work cut out for basis, Tina has settled in at the Lunt-Fontanne; all signs
them keeping the mics in place, but “the team does a great point to a lengthy run.
job,” Steinberg says, adding that the complications of
dealing with the star’s changing looks—especially her
increasingly outrageous wigs—were smoothed out during
the Hamburg and London runs. The band is fitted out with
a variety of mics from AKG Audio, Beyerdynamic, DPA,
Radial Engineering, and Shure.
Sound is controlled using a DiGiCo SD7T console, with
a Waves SoundGrid server for reverb and other effects.
Steinberg notes that he uses reverb strategically: “The
reverbs tell you where and when you are. They’re a good
way of tipping off the era and location of a scene, helping
to place you in a studio or an arena. It gives you a sense
of the period, whether it is something shiny from the ‘80s
or some big mechanical plate from the ‘70s. They can help
the audience understand the sound of an era.” Sound
effects—including radio broadcasts, cheering crowds, and
a disturbing collage of traffic noises and police sirens at
the end of Act I—are delivered using QLab 4. “The show is
synchronized using time code from the music department,
using a QLab system set up backstage,” he says. “It is
part of the music department and it generates the click
track. Our QLab system does the sound effects and drives
the DS100.”
The big mixing challenge of the show, Steinberg says,
involves “managing the dynamics, going from the play to
the concert and everything in between. You can get easily
lulled into approaching the middle of the thing rather than
constantly scratching at the extremes, which is what we
want to do here. From an operational point of view, it’s a
kind of discipline to make sure you’re stretching the show
as much as possible on both the book scene side and the
concert side.”
Other key personnel on Tina include Kristen Harris (pro-
duction stage manager), Glynn David Turner (stage man-
ager), Sharika Niles (assistant stage manager), Brian Webb
(associate scenic designer), John Viesta (associate lighting
designer), Jason Crystal (associate sound designer),
Simon Harding (associate projection designer), Alex
Mannix (assistant lighting designer), Z Worthington (assis-
tant sound designer), Lisa Renkel (assistant projection
designer), George Reeve (additional animation), Erik E.
Hansen (production carpenter), Jeremy Wahlers (produc- • December 2019 • 47

A Star’


48 • December 2019 • Lighting&Sound America

Fantasia Barrino reconnects with her fans
S tion in 2004, Fantasia Barrino, who goes By: Sharon Stancavage
in this adroitly tailored showcase

ince winning the American Idol competi-
designer, says, “It meant a lot to her to capture everything
that her fans have been requesting over the years. This is
Photos: Johnny Louis/Getty Images the star’s new Sketchbook Tour—which features guest an old-school show with a new-school twist, since we’re
by the mononym Fantasia, has released
using new-school fixtures. To her, it was all about making it
seven albums, appeared on Broadway in the
feel very energetic but still very real and not too choreo-
musicals The Color Purple and After
graphed. She didn’t want it to feel robotic; she wanted
Midnight, and had numerous television gigs. Of
something natural, energetic, and soulful.
“Once we crafted the set list to cover her old material,
artists Robin Thicke, Tank, and Bonfyre—Michael
her newer material, and anything else she felt would be
Apostolos, the singer’s creative director and production

“This is an old-school show with a new-school twist,” says Apostolos. • December 2019 • 49


liked by the audience, we went into the visual aspects,” extends left and right.”
Apostolos says. “Overall, Fantasia wanted an awards-style In the initial design, Apostolos included a lift inside of
staging element, in the sense of multiple levels. We grew the staircase. However, he says, “Our opening number
away from the awards-style look but maintained a multi- changed, so now we’re using a Kabuki with front projec-
ple-levels aesthetic; she also wanted to incorporate a stair- tion.” This, says tour manager Don Muzquiz, requires “a
case and multiple levels for the band.” The latter is com- Barco F90-4K13 with a long focus 0.8—1.21: 1 lens, plus a
prised of a drummer, keyboard player, and two guitarists. laptop for playback and two ImagePRO-IIs.”
“We have two 8 x 8 risers, cut in a skewed square; the ris- The scenery was fabricated by SGPS. “We had the set
ers are 3' high. We also have two arms that sit offstage built in 4' increments width-wise,” Apostolos notes,
right and left of the staircase, with the guitarists on them; “because she’s playing smaller theatres to arenas and we
they are 4.5' high. We did a minimal front on the risers; we wanted to make sure it is scalable, and that the carpenter
made sure everything was painted black, so we didn’t see on the road can go from an A rig to a B rig or a C to a D
a bunch of structure under the set, and now we’re lighting rig in terms of width.” The Kabuki—as well as video,
directly through it.” sound, and lighting—is provided by Solotech.

The risers are illuminated. “Under them,” Apostolos Lighting
says, “we have [GLP impression] X4 Bar 20s and [GLP] The Barco projector is used only for the opening, and the
JDC1 strobes. The X4 Bars were originally going to be on upstage LED wall present on most shows is absent. “It’s
the steps downstage, but we ended up putting them essentially a no-video show,” Apostolos says. “Originally,
underneath to give us more horsepower in terms of light we had some, but we decided to pull it back and make it
and color coming from there. The JDCs give a similar about her; we’re accenting her and making her shine.”
effect, with a smaller fixture to break it up and give it more Fantasia’s longtime lighting designer, Ryan Williams, adds,
depth.” These instruments are new to Apostolos, who “The whole video wall thing is very clichéd now. You get
says, “I like both of them. I think that they can do some an upstage video wall on every show you do.”
pretty cool things. The white instance in the middle of the Nevertheless, the upstage area isn’t bare, Apostolos
JDC1 is very bright and can really make for a nice explains. “We have a wall of [Martin by Harman VDO]
moment.” Sceptrons upstage and two angular walls of them at left
In addition, Apostolos notes, the star “wanted a stair- and right. We’re using them as lighting fixtures; we’re not
case in the middle for herself to have a grand entrance; running any content through them. We’re doing effects and
she basically wanted a center object to go to. She wanted some pixel-mapping with them.” Williams adds, “I was
it to have depth, dimension, and height. The staircase is 6' able to use the Sceptrons to help paint the picture in lieu
tall and comes downstage approximately 7' and then of a video wall.”

50 • December 2019 • Lighting&Sound America

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