ON THEROAD:Priscilla
Below: Lighting designer Nick Schlieper and sound designer Michael Waters.
Schlieper explained: “The show is essentially “The web is integrated into a black slash Additional equipment include Wildfire UV
lit by the conventional rig, in quite an ‘old- curtain which backs the fi rst five numbers of fresnels, Strand Iris 2-cells, Lycian M2 2500w
fashioned’ way, including several extremely the show, helping to set and vary the tone and Starklite 1200w followspots and Look
bright dialogue scenes, out in the desert. The within a sparkling black surround,” commented Solutions Unique haze machines.
moving light rig comes in over the top of these Schlieper, who has worked on the project with AUDIO
in the show’s many musical numbers.” associate LD Michael Odam, lighting supervisor Sound design for Priscilla was by Michael
There are 120 ways of additional Avolites Matt Roper and production LX Fraser Hall. Waters, working alongside associate sound
ART 4000 dimmers and the conventionals are “The other aspect is the large amount of set designer Crispian Covell and audio provider
almost entirely comprised of ETC Source Four electrics in the show — there’s virtually not a Autograph Sound Recording. Senior production
Profiles in front and sidelight roles, while PAR piece of scenery that doesn’t come with its own sound engineer is Ken Hampton, sound
cans with scrollers provide the backlight as well lights attached. operators are Andrew Foster (No.1) and Karen
as set dressing and additional sidelight. These “The flown Harbour Bridge has over 50 Szameit (No.2), and Charlotte Dale is the radio
are controlled by a Strand 520 desk which also channels of onboard dimming, including both technician.
runs a large quantity of set electrics. real and ‘fake’ neon as well as lots of three- How did Waters find working with the
On the intelligent lighting front, Vari*Lite circuit ropelight. The main portals of the basic acoustics and physical attributes of the Palace
VL3500Qs make up all of the overheads, as well set are trimmed in over 200m of red neonflex Theatre? “The Palace isn’t the easiest theatre in
as providing additional frontlight for the cloths and chew up in excess of another 100 circuits, which to put a sound system appropriate for a
and flown pieces. These are augmented by a and the ‘Les Girls’ steps have their handrails show of this genre, being a pop musical,” he
full set of both high and low level sidelight from completely encrusted in miles of bunched up said.
Clay Paky Alpha Spot 1200s. Christmas tree lights. “I needed a system that was capable of
Ten Source Four Revolutions (15°-35°) and a “In our context, the sun and the moon being subtle in its dialogue delivery yet able to
couple of VL1000s provide additional frontlight; become an internally-lit mirrorball, covered in ramp up to trouser-flapping disco/rock in the
six Martin MAC 250 Entours provide extra two-way mirror tiles containing two circuits of big numbers! Priscilla consists of traditional
footlight and there is a light curtain consisting dimmable fluorescents. narrative and ballads to ‘bollocking doof’.
of six DHA digital units. These are controlled “The bus interior is lit by around 100 MR16 There’s very little real estate on the floor of the
by the afore-mentioned grandMA, which also fittings of various kinds and also contains stalls to put any subwoofers, nor much usable
triggers the bus video and media server for the about a dozen RGB LED fittings and some space in any of the circle level boxes.
LED web — built by Stage One using Philips dimmable flourescents, as well as all the usual “Other challenges included trying to
LEDs — that earns its keep before the bus headlights and indicators which, of course, are conform within certain design parameters of
makes its entrance. all wirelessly controlled.” the production such as keeping the marble
TPiMAY 09• 41
Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68