Irreplaceably Beyoncé: Staging The Mrs. Carter Tour

Photo Frank Micelotta

The scenic elements of LeRoy Bennett's design for Beyonce's The Mrs. Carter Show World Tour \were built by Tait and consist of a 76' wide by 49' deep mainstage, constructed from Tait’s Mag Deck system, and a 51' wide by 50' deep B-stage, appropriately dubbed the “Bey Stage,” to which Beyoncé travels via a flying rig. “A Beyoncé show is always an incredible challenge because she is so ambitious and is such a demanding expert of perfection,” describes Tait’s vice president Adam Davis. “She is not a casual performer. This stage set is a challenge because of its incredible complexity.” The flying rig, made up of three T-winches with two axes of motion, elevates Beyoncé from the mainstage to the B-stage.The element is controlled by Tait/FTSI’s Navigator Control System and features a custom footplate for performer comfort and safety.

READ ABOUT BENNETT'S LIGHTING DESIGN.

Squeezing a lot of elements into a limited amount of space, Bennett and Tait worked to exceed expectations with the stage layout. The rolling mainstage features six band risers with LED video fascias. Also integrated into the mainstage are two toaster lifts, a retractable dance bar, propane bars, and magic pantograph stairs that allow the performers to enter the stage from below. The downstage edge of the stage, which features an organic curved duck blind effect, is used to hide technical elements underneath the stage deck and acts as a scenic piece. The curve creates two VIP audience areas immediately flanking the stage.

Tait’s biggest challenge was creating the structure of the upstage wall that weighs approximately 40,000 pounds, has to assemble very quickly, and look the same in each venue. The team came up with a system to pack and deploy this quickly, as Bennett had envisioned a wall that required the fixtures to be lined up in the exact same place each night. The production requires 25 trucks to bring the show from one venue to the next and a crew of approximately 140.

The B-stage (Photo Frank Micelotta)

Davis describes the B-stage as a completely designed second stage area with motion control and lighting above it. The B-stage houses FOH and VIP seating and includes two U-shaped walkways, measuring 3.9' and 5.9', respectively, in height. The walkways are connected by custom retracting stairs.

 

Mrs. Carter's Video

Complementing The Wall of Inferno is an eye-popping video setup—a main LED wall that acts as a mid-stage curtain, made of Everbrighten BR 15mm panels, totaling 59' wide by 11.5' high. The band riser fascia uses Luxmax Winvision 18.75mm panels. Enabling the front row fans to get the best view possible, the downstage camera operator is positioned backstage, controlling the automated camera system remotely. The video setup also includes Barco FLM 20Ks and Christie HD 10K-M projectors, as well as two Green Hippo Hippotizer HD i7 media servers with HDSDI inputs.

Adding to the visual experience are effects provided by Strictly FX, including explosive comets in “Girls Run the World,” a 40' silver waterfall in “End of Time,” and flame effects in “Naughty Girl” and “Diva” (with four MK2 flame cannons, as well as silver gerbs that erupt during the drum solo.) There’s also a custom pyro guitar gag from guitarist Bibi McGill during “Freakum Dress” that was showcased during the Super Bowl Halftime Show. In addition, five propane bar decks ignite in flames during “Naughty Girl,” while a pyro waterfall, CO2 jets, confetti, and dragon flame projectors are built into the stage for added effects.

Photo Frank Micelotta

CHECK OUT THE PHOTO GALLERY

A new effect also debuted on this tour. As Beyoncé flies from the mainstage to the B-stage during “1+1,” she does so in a sparkling cloud that appears to come from her dress, but it is actually Mylar “pixie dust” confetti. Strictly FX partner and effects designer Mark Grega explains, “The pixie dust gag is a delicate and beautiful effect. It’s a brand new device and is being used for the first time on this tour. In rehearsals, it was one of the effects that were really unexpected and made Beyoncé smile the first time she saw it.”

Photo Frank Micelotta

Jennita Russo, the tour’s theatrical stage manager, has the difficult task of calling the show each night and keeping the many moving parts on track and seamless for each performance. “Because of my background as a choreographer and former dancer, I have a real advantage because there is so much dance involved in Beyoncé’s productions,” Russo explains. “We are in our fourth month of touring now, and the creation process is ongoing because we are constantly updating our show. It can be quite high pressured with many on-the-spot changes, so it helps to have a good knowledge of choreography, staging, and music. Chaos is normal around here, but it’s just par for the course for producing a spectacular show!”

There is no doubt in anyone’s mind that Beyoncé and her team have created a fiery, energetic, mesmerizing show that keeps the audiences screaming for more.

 

VIDEO GEAR
Video Supplied by Chaos Visual Productions
HD Portable Production Unit with a Grass Valley Kayak 2 M/E Switcher
2 Green Hippo Hippotizer HD i7 Media Servers with HDSDI Input
2 Barco FLM 20K Projector
2 Christie HD 10K-M Projector
Everbrighten BR-15mm 18m x3.5m, Main LED Wall
WinVision 18.75mm, Band Riser Fascia
WinVision Adecco Nodes, Flying Set
6 Sony HXC 100 HD Camera
4 Sony BRC 700 Robotic Camera
1 Jimmy Jib Hot Head Remote Camera
2 86:1 Long Lens
1 72:1 Long Lens
2 Standard Handheld