ON THEROAD:Priscilla
said: “We can set the slew rings at any angle important part of the team’s work on Priscilla . It large garage door on the side, the up/down
and then drive the bus in any direction. When is integrated into the show with great panache motion of the three electric personnel lifts and
we do some of the more complex moves, we when the Three Divas (Zoë Birkett, Kate movement of the wing mirrors.
use animation to create a macro. Gillespie and Emma Lindars) fly 10-12m above “Obviously, running cables for mains
“We create a model of the bus on AutoCAD the stage like a turbo-camp Greek chorus for power would be restrictive,” said Gowans, “so
and then animate the slews and drive wheels various sequences. everything on the bus is battery powered and
within the model so that they follow the motion “One of the swing Divas had previous we have enough battery life to run three shows
of the virtual bus. experience of flying in The Lion King, but the before recharging.”
“This allows the model to figure out the others were all completely new to it,” explained Designed by Tim Chappel and Lizzy Gardiner,
positions that all of the eight motors have to be Gowans. “You have to take great care with nearly 500 costumes are featured in the show
at any point in time. We collect that data and them on many levels because it takes weeks and at each performance over 100 wigs, 160
it’s sent to each of the motors five times per to build someone’s confidence in the safety of masks and 150+ pairs of tailor-made shoes are
second. the harnesses and apparatus, and seconds to worn by the cast. Almost 200 hats and head-
“This is the same technology that we began destroy it.” dresses are worn — one containing 25 yellow
to use at the Athens Olympics and then later Qmotion also controls two stage lifts, the rubber ducks, another with 75 butterflies, and a
at the Melbourne Commonwealth Games and revolve and several flying scenic pieces. The third that incorporates an aquarium... complete
Asian Games in Doha, so we understand how overall automation operation is divided between with fish. You get the picture?
to do it very well but every application brings a technicians Davide Monastero, Tony Milross, Garry McQuinn commented: “Fortuitously,
new challenge. Simone Minasi and Jamie West. we hired several of the Academy Award-
“As a client you can ask us to do something Another Qmotion-driven icon of the show is winning costumes that were made for the
quite complex, but if you can model it and a giant 2m crystal encrusted shoe that descends film by Tim and Lizzy. They gave us a truly
conceptualise it in an animation, you can then to position itself over Priscilla before projecting unbelievable palette — everything from dancing
automate a real object. Qmotion certainly is a out 5m over the audience on two axes of cup cakes to singing paintbrushes!”
very powerful tool.” automation. The construction of this, along
with other items such as flying eucalyptus trees LIGHTING
FLYING THE DIVAS (yes, really!), came under the wing of Stage Completing the visual feast is Nick Schlieper’s
Whilst the bus is the most technically complex One’s scenic interpretation department. clubland-esque lighting design which relies
element on-stage, the performer flying The bus itself moves around 40 times during on around 70 moving fixtures and 600
— another of Stage One’s specialities that the show, added to which there are numerous conventionals supplied by PRG Lighting through
also utilises Qmotion — is probably the most internal moves such as the opening of the “the very supportive” Peter Marshall.
40 • TPiMAY 09
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