On the floor were another six MAC 700s and six Robe LEDWash 600s, used for lower level lighting and effects. Having light sources in this position can really increase the audience’s perception of the performance space and make an expedient rig look a lot larger than it actually is, explained Amy, referencing back to the original brief … to make it look BIG.
Four MAC 700s upstage were varied in height off the deck on stands and flightcases, with four LEDWashes actually on the floor and another two of each fixture downstage both sides of stage.
The electronic kabuki reveal took place after a musical intro at the top of the set that segued into the band playing live … and as Chris entered the stage, the cloth fell away to reveal him silhouetted by the upstage spots.
Entec also supplied a DF50 hazer, and one of the daily challenges was to use this to create an invisible haze around the stage and venue!
For lighting control Amy chose a ChamSys MQ200. The colourful and stylish show accommodated the various specific requests from Chris as well as plenty of ideas from Amy who, in addition to all the show cues, had a busk page set up on the desk to experiment with new looks and some ‘live’ evolution as the tour progressed and settled into its groove.
Entec supplied Mark Wood for crew, with whom Amy really enjoyed working. “Like everyone associated with Entec I have met, he was fantastic,” she concluded.