inaugurating what has become a global rivalry among not just the brand-name theme parks but casinos, hotels, resorts and major entertainment venues as well, to be home to the world’s most superlative-defying technotainment attraction. By 1997, for example, Laservision had produced what was


then the world’s largest and most complex outdoor multi- media show for Samsung’s Everland park in South Korea. This mind-blowing concoction of large-format film, lasers, a 72,000W surround sound system, pyrotechnics, a water screen, animated fountain and assorted special effects, quickly became the country’s number one night-time attraction. Even in regional parks, these shows soon evolved from seasonal or side-line events to marquee attractions. “Our work has been promoted from decoration to main


event”, says John Carter at Parker 3d, a New Jersey holiday design company that lists Sony Corp., Madison Square Garden and the World Financial Centre among its clientele. “A million-light Christmas light show we created at Busch Gardens, Virginia, was voted the number one attraction in the park, rated higher than any ride or live show.” At Aquatique, where they’ve been choreographing


fountains and lights into elegant “water theatres” for over 30 years, Formhals declares enthusiastically: “Water is used in big shows and events all over the world. Today it’s a must for leisure parks. All the biggest parks either own or are looking for a water show, always more imposing and spectacular.” He should know; his company’s theme park credits include shows at Europa-Park, Germany, Disneyland, France, Port Aventura, Spain and Sea World, Florida. But while the technologies employed in creating these


“always more imposing and spectacular” shows keeps getting smarter, faster and more versatile, the reasons why parks so willingly shell out for them haven’t changed much over the years. For starters, night-time shows especially, prolong the duration of the typical visit and thus increase merchandise and food service sales. Equally important, however, is the ability of a show to


build a venue’s brand by offering guests a singular, must-see experience they will long remember and talk up among their friends. Take for example that Christmas show John Carter at Parker 3D developed for Busch Gardens, Williamsburg. Money well spent according to Scott Gasparich, the park’s vice-president of entertainment, because, while “... anyone can develop and install a lighted tree and set it to music ... it takes experts in their craft to develop an awe-inspiring piece of art that will make people say ‘Now this is Christmas.’ Carter’s production ... creates memories that will last a lifetime.”


www.InterPark.co.uk 47


“I think the goal of any project is to achieve a ‘wow’


factor,” confirms Josh Martin, COO of Aquatic Design Engineering [ADE]. His Florida-based company has just installed an 8,000 sq. m, multi-level fountain boasting 2,100 LED lights at Abu Dhabi’s Ferrari World, the world’s largest indoor theme park. “The developers who hire us expect that we can deliver a ‘wow’ moment to their guests. It’s said that you only get one chance to make a first impression and our goal is to make that moment count.” Also in Florida is Jeff Wade, who’s company Back Stage


Technologies specialises in creating “... eye candy, whether it’s flame, water, pyrotechnics, cryogenics, fibre optics.” According to Wade: “We are continually approached by creative directors who have a vision for a show. Our job is to create these visions with the technologies of illusion - what many like to call ‘smoke and mirrors’.” Creating visions. That’s what it’s really all about. That’s


the “ahh-some”! truth of this business - inventing the “smoke and mirrors” isn’t the hard part. Rather, the real challenge is figuring out how to utilise them as effectively, reliably and, of course, as affordably as possible to realise their clients’ visions. And that, say the major players, takes as much imagination as it does technical prowess. “Creativity is essential,” says Aquatique’s Formhals.


“This is what clients are looking for when they consult us.” Naturally, each player has developed their own particular


approach to meeting that challenge. “Our clients require displays to be hipper, louder and


to reach out and touch the audience,” says Parker 3D’s Carter, who has designed sculptural interactive displays around the world. The signature of his shows is a mix of tradition, surprise and emotion precisely calculated to make


Part of the Busch Gardens, Virginia, Christmas light show (Image courtesy of Parker 3D)


Image courtesy of Laservision


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