PRG supplied both the lighting package and the screen automation for the recently presented 61st Primetime Emmy Awards at the Nokia Theatre. Production designer Steve Bass and lighting designer Bob Dickinson worked on a smoke-free design that reflected key elements of the television industry.
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When Los Angeles’ mega-club Playhouse held its soft opening, the crowd converged on Hollywood Blvd. was large enough to warrant intervention from the LA Police Department — one measure of the buzz surrounding the new $6 million venue.
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For MTV’s Video Music Awards (VMAs), staged live at Radio City Music Hall, LD Tom Kenny deployed a package of Coemar Infinity Wash XLs, Infinity ACLs and ParLite LEDs provided by Scharff Weisberg Lighting.
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For Ben Hur Live, staged recently at London’s O2 Arena, Patrick Woodroffe used a lighting rig of more than 200 Martin MAC 2000 Wash XB, MAC 2000 Profile and MAC III Profile moving heads to light a musical stage production involving a cast of 400 and scenes that include a ship battle and chariot race.
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Any time someone chooses to revive a Broadway masterpiece, they take on a big responsibility and risk drawing criticism if it does not live up to expectations or takes an unexpected turn. But then that is part of the thrill of live theatre — taking risks and trying to exhilarate audiences with something new and different.
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It’s not supposed to be like this. Let’s just get that straight. I have enough friends who tour. I’ve listened to plenty of tales of woe, exploding egos, tree pissing contests and the misadventures of local crews with expensive gear — enough to know that load-ins are not supposed to be so easy.
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“A true visionary” is a phrase that is often overused, but it’s probably an understatement when describing High End Systems co-founder Richard Belliveau.
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"Number one, and something that isn’t often talked about in these types of articles,” says creative director Ray Woodbury, “is that No Doubt is an awesome band.”
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In an industry where the only constant is the rising expectations of production values, special effects are the magic elixir that soothes the savage need for excitement and thrills. But the downturn in the economy has thrown many parts of the industry into a fishtail. Road tours, however, seem to be the exception.
Read More »Es Devlin is best known for her scenery and costume design work in opera, but she has recently lent her talents to the Pet Shop Boys for their Pandemonium tour of North America.
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All lighting designers want to create compelling visuals that inspire awe, but not many of them will tell you they feel a responsibility to represent the visual aspect of the band they work for. Jason Liggett is perhaps unique in that regard as he described in his quest to become the lighting designer for alt rock band Wilco. For someone who started as a security guard in a nightclub, Liggett has come a long way.
Read More »The popularity of the band Green Day has afforded the trio the opportunity to headline and establish high production values. A major part of the production for their 21st Century Breakdown tour is the video element, most of which is controlled by lighting director Kevin Cauley. The other Collie on the tour is lighting designer Justin Collie of Artfag. This is what they had to say about the tour.
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