LD Philip Ealy has designed the much anticipated reunion tour for Guns N’ Roses. Aptly titled “Not In This Lifetime” — referring to the fact that nobody believed it would actually happen — Ealy is working with lighting programmer Rob Koenig and content programmer Chris Lose on the stadium tour.
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For a creative and expressive field like live music production, it’s amazing how jaded some people can be at times. But I’m not going to talk about that; I am going to talk about the exact opposite of that. I want to talk about the energy that pushes you to keep moving to create something almost beyond this world. If there is a single word for it in English, I don’t know what it is. It’s beyond enthusiasm. It comes over you like a spell until you see the project through, then it goes somewhere else for a while. It comes back again later. This energy, as I know, it can manifest in at least three different ways.
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I’m proud of the diversity of our articles because we cover so many different stories, from so many different angles. With every story I read, I usually get a spark of info that leads me to think along another tangent. If the spark is big enough, I may expand on it and offer an opinion on something. Such a thing happened in the article we publish this month featuring Don Holder lighting the revamped Fiddler on the Roof on Broadway (see “Inside Theatre“).
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TOUR: Immortalized Tour
DATES: Feb. 2016 into 2017
THE DESIGN: “My intent was to do a 100 percent LED rig. I got close, but at the last minute, I changed the profile fixtures out. I really needed a bit more horsepower to cut through the wash. There were several conference calls about ideas and direction. I was their LD when they went on hiatus back in 2011, and was flattered to get the call back. Fortunately, there was already a relationship built, and we picked right up where we left off.”
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Unlike the typical Broadway show, director Bartlett Sher’s new revival of the iconic musical, Fiddler On The Roof, takes place in a white box setting with a highly reflective back wall, which allowed Tony Award-winning lighting designer Donald Holder the chance to play and sculpt with light in fun ways. “I got a lot of the responsibility for changing the space, of transforming it from one location to the other, one season to the next,” he tells PLSN. “It was real, pure storytelling through light. You don’t always get that opportunity. It was a challenge, but also a joy.”
The 2016 Prolight + Sound and Musikmesse exhibitions in Frankfurt, Germany swapped physical locations this year, and instead of being held concurrently, the show dates were staggered, with Prolight + Sound running April 5-8 and Musikmesse held April 7-10. It’s part of the organizer’s re-launch of Musikmesse from a trade fair to more of a consumer music event and festival. Not everyone was happy with the changes, of course, but that didn’t hurt the overall stats for Prolight + Sound — which enjoyed an increase in total exhibitors (from 920 to 940) and a 16 percent increase in the exhibition display area. And as ever, there were plenty of technological advances on show.
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