Picture yourself in a boat on the river. Characters from Beatles' songs cavort all around you. There's Lucy in the Sky, Eleanor Rigby, and Sgt. Pepper. Suddenly, someone is there at the turnstile: it's the ticket taker, dressed like an English Bobby, welcoming you to Love, the latest Cirque du Soleil spectacular now in residence at The Mirage, in a totally redesigned space that was occupied for many years by Siegfried and Roy. Love opened on June 30, 2006.
Interestingly, Cirque du Soleil's first engagement in Las Vegas, La Nouvelle Experience back in 1992, was in a tent outside of The Mirage, so there is a certain sense of history here, yet Love also turns a corner for Cirque du Soleil in several ways: it is their first show without live music, as you hear The Beatles singing their own songs in an elaborate remix (see article on p. 62 by Matt Hurwitz); it represents a unique collaboration with The Beatles' Apple Corp.; and moves the company's performance vernacular more toward pure entertainment and a little further from the circus-style acrobatic acts upon which Cirque du Soleil built its stellar reputation.
Conceived by Cirque du Soleil guru Guy Laliberté (based on an understanding with the late Beatle, George Harrison) and directed by Dominic Champagne, Love does not disappoint, especially if you are a Beatles fan. Contortionists and Chinese acrobats may have given way to dancers, but in typical Cirque du Soleil style, performers fly in from overhead while others blow giant bubbles using special liquid housed in a piano, and umbrellas are outfitted with lights and fog machines, as this 90-minute magical mystery tour takes the audience inside the Beatles song book. There are hidden references to their personal lives, as well as time specific references to the social turmoil of the drug-induced 60s.
“The original concept was to bring The Beatles' songs to life, rather than chronicle their lives,” explains Alan Hills, company manager for Love. Yet the show does move in a chronological order, from the blitz of London in WWII to the psychedelic flower power era of the late 1960s by way of the Beatles' prolific musical oeuvre. Snippets of their famous appearance on the Ed Sullivan show, album covers, newspaper headlines, and photographs of the Fab Four at various stages in their career are part of the visual landscape of Love, along with scenery by Jean Rabasse, lighting by Yves Aucoin, projections by Francis Laporte, and costumes by Philippe Guillotel. The sound design is by Cirque veteran Jonathan Deans.
The lobby, box office, and gift shop areas are colorfully lit with Traxon Mood Lights, color-changing LED panels that also create a walkway into the inner lobby, with the color scheme a series of fades from red to pink to white. Color Kinetics ColorBlast fixtures add sparkle to the ceiling, where one area has colored fluorescent fixtures above glass panels to form a Union Jack, while Zumtobel fixtures outfitted with Color Kinetic's LEDs are set into the floor. The stairs leading from the concession area up to the theatre are lit with Martin Professional Alien 02 fixtures with 50W lamps.
Rabasse also designed the lobby with a 1960s theme. “The lobby is basically white on your way into the theatre, but since you've been changed by the experience of the show, there is more color on the way out,” explains Hills. The day look for the box office and gift shop (where there are also architectural fixtures by Indy Lighting and Erco Lighting) is also different from the pre-show look.
An Indoor Tent
The first order of business at The Mirage was redesigning the Siegfried and Roy venue for Cirque's new show. The existing 1,500-seat proscenium theatre was completely gutted and reconfigured as a 2,013-seat (the seats are blue with the obligatory Las Vegas cup holders), 360° theatre-in-the-round. “The space is like a modified tent, which gives it an amazing intimate feeling,” explains Michael Anderson, operations production manager for Love. Construction began in August 2005 and the load-in was the following November. The full crew was on board as of December 6, and by June 2006, the show was up and running. “That is a fast turnaround for Cirque in a new facility,” adds Anderson. Marnell Carrao Associates of Las Vegas served as the general contractors.
Construction required digging down an extra 20' for the automation systems required for the show. Basically what was left in the space is the supporting wall of the proscenium arch, which cuts the tent-like interior into sections and makes for some rather unusual seating configurations. The south side of the theatre is what was the Siegfried and Roy stage and backstage area: its grid and support steel are also still in place. The center of the space, where the old proscenium opening was, is the central path across the new stage area, now referred to as “Abbey Road.”
Six entrances/exits lead to and from the stage, with four control booths — lighting, projection, stage management, and automation — one at each corner of the theatre, with each booth tied into time code: projection relies on time code to sync the projectors to the music; lighting has certain cues triggered by time code. Robert Juliat followspots are located in “garages” in the corners of the room, while the sound console is in the seating section along the south wall.
A shop for electrics, rigging, automation, and projection is located where Siegfried and Roy's famed lions and tigers once lounged. “From one animal to another,” joked Anderson, referring to 98-person crew that keeps Love up and running. “There is a running crew of 70 people, and another 28 for maintenance, broken down into different departments,” Anderson adds, listing sound, props, electrics, projections, rigging, wardrobe, automation, and carpentry. “Every space in the theatre is used by many departments.” Anderson's right hand man was David Dovell, technical director.
In keeping with the intimate feeling of a circus big top, the farthest seats in the Love theatre, those in the last row of the balcony, are just 98 feet from the stage, and a mere 28 feet from the center of the stage to the first row. Auerbach Pollock Friedlander, performing arts/media facilities planning and design consultants, created the drawings and designed many of the theatrical systems, working hand-in-hand with Cirque du Soleil on the new arena seating, 25,000 square feet of overhead technical support, sound and communications systems, and a fully automated stage deck.
The look of the open stage is deceptively simple: with 141 automation axes, it is one of the most sophisticated scenic automation installations in any theatre to date. The stage is made up of five main lifts constructed by Show Canada. In addition, there are two “sloats”-sliding lid over automated trap-two trampoline lifts, and four triangle dual axis traps, all built by Conception D. Bédard in Montreal.
“The four hinged trap decks combined with the stage lifts allow the stage area to be transformed into a 1,600 square foot black hole, giving the visually stunning appearance of a void which only moments before was filled with scenic elements,” explains Len Auerbach, principal of Auerbach Pollock Friedlander, who also worked on the extensive rigging and automation systems required for a Cirque du Soleil show of this magnitude.
The rigging system includes four overhead tracks as well as nine motorized overhead trolleys that are integrated with wireless controls and travel at a maximum speed of six feet per second for transporting scenery and performers. Designed and manufactured by Stage Technologies Inc based in the UK and Las Vegas, “These units are the key to the overhead acrobatics using the three dimensional space in the theatre,” explains Auerbach. “The trolleys are fitted with vertical hoists on a rotational axis. A typical trolley unit consists of four vertical hoists mounted on a rotating chassis, allowing performers or scenery to be moved vertically or horizontally while rotating simultaneously.” There are a total of 22 vertical hoists and eight rotating chassis and 12 fixed winch assemblies are positioned on the grid surface to assist with the movement of scenic elements in and out of the space. "Stage Technologies has been there for us since day one and continues to be" says Mike Anderson. Kevin Taylor, CEO of Stage Technologies Inc, worked very closely with the team in the initial months of rehearsals and continues to offer 24-hour support with the assistance of Stage Technologies specialised engineers based in the US and UK. "We are pushing yet another envelope of technology on this show and without the support of Stage Tech there is no way we could have pulled this show together," says Anderson.
The production communications system, also worked on by the theatre consultants, includes a 72-port digital matrix intercom system interconnected with a digitally controlled analog matrix, capable of switching 216 stations into eight party-lines. The system provides ten channels of wireless intercom feeding 20 wireless beltpacks. Backstage monitoring and paging is controlled by a computer-based system feeding over 82 loudspeakers. The system is a mix of Clear-Com, Motorola, and Telex. More than 20 fixed-focus and remote-controllable color video cameras are routed through a 26-channel modulated video system for monitoring of performers, musicians, and critical backstage systems.
The Acoustic Challenge
“Halls that have seating in the round have unique challenges acoustically,” says Mark Holden of Jaffe Holden, acousticians for the theatre renovation. “There is a high probability for echoes, late reflections, and dead spots. Geometry can cause these problems which reduce the ability to hear music clearly and downgrade experience, for audiences, performers, and the audio technicians.”
Since there would be over 6,000 loudspeakers in the space (including those in every seat), Holden knew that sound could originate in any location, so every possible surface, material, and element needed to be evaluated. “We tested materials, fabrics, and sound elements in our acoustic chamber in our labs in Norwalk, CT,” he notes.
Considerations were also evaluated for controlling mechanical noise form huge air systems (10 times the size of a typical theatre), controlling noise from the complex rigging, lifts, and trolley system, controlling noise from backstage activities, actors, artists, and technicians, with the goal to make “the hall sound fantastic for these very special re-mixed Beatles songs,” according to Holden, who worked hand in hand with sound designer Jonathan Deans.
Acoustic treatment included pyramid shaped acoustic diffusers that reduce the focusing effect of curved walls and evenly distribute the sound about the vast room, and fabric wrapped panels on targeted surfaces to absorb sound. “A common design error is to overdo the absorption, rendering the room too dry or dead, which takes the life, the energy out of the hall,” says Holden. That does not seem to be the case here, where The Beatles' music bounces boundlessly through the space.
Diamonds In The Sky
Making his debut with Cirque du Soleil, LD Yves Aucoin (known for his work with Celine Dion) created a sparkling environment that plays with the themes in The Beatles' songs. “The biggest challenge is that the songs are so well known,” he says. “People have 40 years of images in their heads already.”
Another challenge was working in the round and figuring out the angles so that the light wouldn't bounce back into the audience's eyes. “It was good exercise walking around the theatre,” Aucoin notes. “I programmed on a grandMA on different sides of the theatre, at different elevations, and from different points of view.” Karl Gaudreau served as lighting project manager, with Michael Cassera as assistant head of lighting.
Aucoin researched The Beatles and the 1960s time period. “There were big changes in trends during that time,” he notes. The color palette is bright and cheerful, turning psychedelic as the 60s progress. The lighting rig is all exposed, based on the concept of being in a studio, with the fixtures hung against a black ceiling. At one point, a portion of the audience closest to the stage is covered with a large white cloth, and Aucoin paints it with psychedelic patterns that are best seen from the higher seats in the balcony.
The theatrical lighting system represents state-of-the-art technology with 916 ETC Sensor+ dimmers, an ETC ETCNet2 network with a fiber-optic backbone and routers for a series of VLANs, each with its own color-coded cable system. The ETCNet2 cables are black, for example; the MA Lighting grandMA is purple; and AMX touch screens, red. “The grandMA NSP processors translate back to the console, which speaks Net2,” explains John Bartley, head of lighting for Love. The system also includes 60 portable ETCNet2 network nodes, 10 rack-mounted ETCNet2 nodes, and 24 racks of ETC SmartSwitch relays. The entire show is run on a grandMA console (with a back-up) with a grandMA Light to run the ETC SmartSwitch relays.
“This is the second install where a grandMA talks directly to the ETCNet2 system,” says Jim Holladay, senior project manager for PRG in Las Vegas, supplier of the dimming and control package; the fixtures came via Solotech USA. “In this case the network is even more complicated with an ETC Emphasis server to run the house lights in the theatre. For the lobby lights, the Emphasis server sends a DMX signal to an EQ control system.” AMX touch screens serve as the user interface for the lobby and house lights, and are located throughout the theatre, both in the control room near the grandMA as well as in the house and backstage, providing separate systems “To keep the right people on the right page,” notes Anderson. And as Holladay adds, “The AMX controllers are not easily programmable. They can change cues more quickly on the Emphasis system.”
The system has a total of 64 universes of DMX (not all of which are used at the moment), 32 of which are for the show's “MA world,” and an additional six for the house lights and power, with all of the moving lights on relay power. “We have the same console and same protocol everywhere,” says Anderson. “The ETCNet2 network is a better option than DMX cable.”
Real estate was one of the issues in installing the lighting system. “One of the biggest challenges was coordination,” confirms Holladay. “We needed to be able to provide all the power distribution and dimmer locations while avoiding all the flying and rigging apparatus. We couldn't put pipes where the winches are, and there are a lot of them.”
One of the most spectacular scenes visually, is “Lucy In The Sky With Diamonds,” when the entire theatre seems to sparkle under a canopy of light. “The LEDs used in ‘Lucy’ are Color Kinetics iColor(r) Flex. We have approximately 4,000 individual LEDs that are individually addressed,” says Bartley. “The interesting thing is how we integrated them. The riggers came up with an ingenious elaborate fly system. Throughout the grid the strings all pulled back to a head block and arbor. We had custom tubes made to guide the light strings through the grid. We then integrated the network through our existing fiber backbone to get the control back to the Light System Manager in the booth. We created another network in the theatre. We used MOXA Ethernet-to-Fiber converters. Very cool product.”
Large-scale images cascade in sync with the music throughout most of Love, requiring a robust projection rig. The projections are run via a dedicated grandMA console, located in the projection booth, with 20 Green Hippo Hippotizer HD dual-output media servers with custom software doing the digital manipulations, and 20 DPI HIGHlite 12000Dsx projectors in five sets, double stacked on each side of the theatre for extra punch on two 103' wide × 20' curved screens that stretch along the north and south wall of the theatre (the same images are seen on both screens), pumping up to 250,000 lumens of light.
In addition to these projectors, four additional DPI HIGHlite 12000Dsx projectors are on Brother, Brother & Sons v-Base moving projection yokes so they can swivel as needed to project on a central scrim that stretches across the stage, including a clever sequence in which projections of The Beatles recreate the famous Abbey Road crossing, and on various props such as the VW Beetles. “They almost act as if they are a moving light,” says Anderson. Four DPI Lightning 30sx+ projectors on catwalks are used on large kabuki scrims and other screens that come in on diagonals. Four catwalks hold the projectors (an additional four catwalks are used for lighting and other gear).
Francis Laporte, who also worked on two other Cirque du Soleil productions, Dralion and Varekai, designed the projections. “There is more media used in this show than any of the other Cirque shows,” says Laporte, who notes that projection is used throughout the entire show, creating an immersive experience for the audience. “Love is an evocative world of The Beatles,” says Laporte, who went to Abbey Road studios in London to do research and look at photos and film footage.
Laporte created an interesting concept by projecting a silhouette of each of the Beatles on its own screen. These are paired with snippets of chatter taken from various recording sessions and spliced together as fictitious conversations in the studio (a very effective way of bringing their presence into the show). Laporte also has a stock of “show saver” images that can be run in case of a problem with the timing of the show. He intentionally saved the use of archival footage to the end of the performance. “This is a tribute to their spirit, not a documentary,” he stresses.
Many of the images are what Laporte refers to as “hand-crafted; more two-dimensional than 3D.” He uses water and oil, collages, and colors that relate to the 60s, what he calls “Yellow Submarine colors. Yet I wanted everything to be as timeless as possible and not at all 2006,” he says.
A clever sequence involves multiple pairs of yellow rubber rain boots, echoing a Michael Curry-created prop on stage where a dancer is in an armature with multiple pairs of the rubber boots attached as puppets. “The sequences were shot in Montreal, using high-definition video,” explains Laporte. “The psychedelic world on stage is a little surreal. The boots as the stars of the video give another focus to what is onstage.” Curry also created three full-scale VW Beetles used in the show, and two large-scale paper puppets for the “While My Guitar Gently Weeps” sequence.
Laporte discovered that the Hippotizer gave him an advantage in staging the show. “The real time options such as scaling and color correction allow you to be as fast as the lighting designer in building a scene,” he says. “There is no delay in rendering. I kept the door open at all time to making changes.” His rendering farm was originally in Montreal, then moved to Las Vegas. “The files are huge and we used multiple computers,” he adds.
To create birds that fly in a natural way for “Yesterday,” Laporte used Green Hippo's flocking program that allows the CGI birds to follow a target by using a joystick. This was developed in conjunction with Sean Westgate and the Green Hippo programming team. While Laporte worked on the ideas for various images, his media guru, Luc Lavergne, worked out the technical solutions.
“Sometimes the simplest images are my favorite,” says Laporte, pointing out that his images for “Strawberry Fields” were made by pouring white cream into a fish tank and shooting the movement in the water at high speed (400 frames per second). He then colored the results digitally. “High tech doesn't always give you the smoothness of the cream in the water,” he notes.
To create images of bubbles, Laporte put oil in water and blew with a straw. “It's hard to shoot bubbles,” he explains. ‘They act as a mirror and you can see your reflection. With the oil there is no reflection.” Not to mention that the mixing of oil and water is a perfect flashback to the psychedelic era of the 60s. “What I created is high-def technology in a hand-crafted way,” he adds. “Computer bubbles look like computer bubbles. I wanted it to look more natural, more organic, with slow movement.”
Coming from a theatrical background, Laporte is conscious of not wanting the images to upstage the action, although in Love, it is sometimes hard to focus on the screens and the stage at the same time: there is a visual feast in both places. “If the images upstage the action they are not doing their job properly,” he says. As for his attitude toward collaborating with the lighting in the show: “The lighting and video always look best when they're well blended. You just have to decide who's taking the focus in each frame, and which color is brighter. In the end, video is moving light. We're not so far from each other, in fact, we need to be very close.”
Costume designer Philippe Guillotel, who has worked on projects ranging from French choreographer Philippe Decoufflé to the Albertville Winter Olympic Games, admits that “the 60s are not really my thing,” but he was intrigued when Gilles Ste.-Croix, Cirque du Soleil's director of creation, asked him to design costumes for a show based on The Beatles. “I knew that they accepted a lot of creativity, and decided the best approach was to pull the characters out of the songs and bring them to life.”
Like the other designers for Love, Guillotel was aware that millions of people worldwide, including the potential audience members for Love, had imagined these characters as they listened to the songs. “You can't make mistakes,” he admits. So to immerse himself in Beatles lore, he went to their hometown of Liverpool, England, to do research. “I visited the grave of Eleanor Rigby in the cemetery of the church where they say two of the Beatles, John and Paul, first met,” he says. “I also read a lot about The Beatles' era, and tried to decipher the songs via translations into French.”
In doing so, Guillotel discovered a universe of people that were easy to pull from the lyrics. “There is even a statue of Eleanor Rigby, thanks to The Beatles. These people have been glorified,” he says. In creating the imaginary universe of The Beatles in the period of 1961 to 1969, Guillotel looked at influences such as London's colorful Carnaby Street flower children clothes and the later East Indian styles brought from the ashrams. “From post-WWII through to the hippies, there were enormous social changes, such as sexual liberty, and the summer of 1969 and Woodstock. I was young and saw those images as well.
“The theatre is a work place, so I create work clothes for the actors,” Guillotel explains, taking into account the constraints for dancers and acrobats. He relied upon the expertise of Cirque du Soleil's extensive wardrobe shops for the choice of fabrics that would withstand 10 performances a week for a long run. One of the most amusing costumes is the Queen of England, whose dress is on an armature that is exposed in the back and she herself is in a picture frame, as if in a painting. “The costume is flat on the front as if it were two-dimensional,” says Guillotel. “But it gets more supple as the eras go by and she can wrap it around herself.”
A fat character referred to as “Mr. Piggy,” represents the bourgeoisie. “There are motors and fans inside to keep the costume inflated,” notes Guillotel. “This works better than foam and gives the actor more physical liberty in the costume.”
The first character that Guillotel designed for Love was the “man from the motor trade” (translates to a car salesman, from “She's Leaving Home”), although here he has a ladder as if he were a fireman or in the building trades. With his ladder, he picks up Lucy from her sky of diamonds. “He loves her,” says Guillotel, who dressed Lucy as if an acrobat from the 19th century in a crinoline and bustier. “He remains earthbound as she flies off. His costume looks massive but is actually very light.”
Guillotel also designed the English Bobby costumes for the ushers, treating them as if they were characters in the show, along with Sgt. Pepper and all the others. “The Bobbies' hats are almost like The Beatles famous haircuts,” notes the designer, noting that these hats were made of real hair, nothing synthetic for Sir Paul (McCartney). In one scene, everyone on stage is wearing a Beatles mask, to represent their worldwide fame, and the universal recognition that would swell to Beatlemania.
Guillotel began the design process in December 2004, spending 2005 in Montreal and the final months in Las Vegas. He makes many of his drawings by hand, but also uses software such as Cinema 4D and Poser-software models of people in which the designer can change colors of the costumes, see the designs from all sides, and add lighting and texture.
“The audience is there to hear The Beatles' songs,” Guillotel says. “I tried to imagine the costumes in the same spirit of creativity in which they created their music.” Guillotel, like the other designers involved in Love, fell under the spell of The Beatles. As Aucoin summed it up: “I fell in love with those four guys.” Didn't we all?
LOVE SELECTED EQUIPMENT
16 - Meyer Sound Laboratories M1-D Line Arrays
30 - Meyer Sound Laboratories M1-D
28 - Meyer Sound Laboratories M1-D for Surrounds
28 - Meyer Sound Laboratories CQ-1 for balcony delays
22 - Meyer Sound Laboratories M2-D for Surround and Catwalks
42 - Meyer Sound Laboratories and Danley Sound Labs Subwoofers
6,039 - Custom Innovox Audio Speakers in the 2,013 Seats
40 - Various Speakers Used for Overhead Ambient Surrounds
Show playback system consists of:
1 - Level Control System CueConsole with:
88 - Inputs
64 - Busses
280 - Outputs
8 - Auxiliaries
16 - Track Wild Track Playback
1 - Dual G5 Macintosh, running Logic Pro 7
2 - Linux machines running Realtime Music Solutions Sinfonia Software
2 - Custom Windows PCs running Magix Sequoia and TASCAM GigaStudio Software
1 - 17" Apple G4 PowerBook Laptop
2 - 12" and 15" Fujitsu PC laptops
1 - Apple 23" Cinema Display
1 - Level Control System VRAS (Variable Room Acoustics) with
8 - Microphone Inputs
22 - Outputs
1 - Digidesign ProTools(r) Studio Containing 32 Channels of Input/Output
1 - Yamaha PM5D Console
2 - RME ADI-642 MADI to ADAT Optical Converter
4 - Apogee DA-16X Digital to Analog Converter
1 - Apogee Big Ben 192k Master Digital Clock
6 - Waves MaxxBass Processor
18 - Lectrosonics VRT Trans/Receiver
8 - Sennheiser In-Ear Systems
24 - Wireless BTR Telex with Six Main Stations
30 - Lectrosonics IFB with One Main Station
40 - Digital and Analog Clear-Com Station
85 - Motorola Walkie Talkie
1 - Powerware 50KVA UPS
4,800 - Audio Patch points
20 - Fiber Patchbays
8 - Video Patchbays with 26 Channels of Modulated Video
54 - Vari-Lite VL-3500Q
64 - Vari-Lite VL-3000Q Spot
30 - Vari-Lite VL-3000Q Wash
56 - Vari-Lite VL-2500 Spot
24 - ETC Source 4 5° Ellipsoidal
48 - ETC Source 4 10° Ellipsoidal
200 - ETC Source 4 19° Ellipsoidal
125 - ETC Source 4 26° Ellipsoidal
6 - ETC Source 4 PAR
40 - Altman MR-11 Micro Strip
8 - Robert Juliat Ivanhoe 2.5kW HMI Followspot
2 - MA Lighting grandMA Console
1 - MA Lighting grandMA Light Console
1 - MA Lighting grandMA PC
9 - MA Lighting NSP
12 - ETC Sensor+ 48-Module Installation Rack
24 - ETC SmartSwitch 24-Relay Panel
70 - ETC ETCNet2 Touring Dual Node
9 - ETC ETCNet2 Rack Mount Node 4-Out
2 - ETC ETCNet2 Rack Mount Node 2-In/2-Out
2 - ETC ETCNet2 Portable DMX Node ETC Net/2
4 - ETC ETCNet2 Video Node ETC Net/2
1 - Soundsculpture Inc. RC4-TX32D 32 Channel Transmitter
1 - Soundsculpture Inc. RC4-TXD-Series High Power Antenna
5 - Soundsculpture Inc. RC4-RX4 STD 4 x 150W Receiver/Dimmer
5 - Soundsculpture Inc. RC4-RX4 STD 4 x 50W Receiver/Dimmer
14 - Pathway Connectivity 6-Way Opto Splitter
3 - AMX 15” Portable Station
2 - AMX 12” Wall Mount Touch Screen
2 - AMX CP-4 Wall Mount Touch Screen
4 - AMX NI-2000 Processor
2 - AMX AXB DMX 512
4 - Dell Rack Mount PC
12 - Cisco Catalyst 3560-48 Network Switch
2 - Cisco Catalyst 3560-24 Network Switch
7 - Cisco Catalyst RPS-675 Redundant Power Supply
2 - Cisco Catalyst 3550 Fiber Core Router
4 - Fiber Optic Backbone
21 - Martin Atomic 3000 Strobes
16 - Wildfire LT404S/F 400W Long-Throw Spot/Flood Blacklight
16 - Wybron Eclipse 2 Dousers for Blacklights
12 - Wildfire 4' Blacklight Fluorescent with DMX
130 - Color Kinetics ColorBlast(r) 6
12 - Color Kinetics iW(tm) Blast 12
20 - Color Kinetics iW(tm) Profile, 82°
100 - Color Kinetics iColor(r) Flex SL 12" Black, Clear Dome
60 - Color Kinetics PSD 60ca 7.5V Power Supply
6 - Color Kinetics iW(tm) PDS-150 Power Supply
1 - Color Kinetics Light System Manager
1 - Color Kinetics iPlayer(r) 2 Controller
5 - City Theatrical PDS 750TR Power Supply
5 - City Theatrical PDS 375TR Power Supply
6 - MDG Atmosphere ADV Fog Generator
4 - MDG Ice Fog Q Low Fog Generator
6 - MDG Max 5000 ADV Fog Generator
8 - MDG Max 3000 ADV Fog Generator
2 - MDG MM Max Fog Generator
24 - Digital Projection HIGHlite 12000Dsx Projector
4 - Digital Projection Lightning 30sx+ Projector
20 - Green Hippo Hippotizer HD Dual-Output w/ Custom Software
1 - MA Lighting grandMA Light Console
6 - MA Lighting grandMA NSP
4 - ETC ETCNet2 Nodes
7 - Brother, Brother & Sons ApS v-Base Moving Projector Yokes
2 - MOTU - Midi Time Code Conversion
2 - MIDI Solutions T8
1 - Brainstorm Electronics, Inc. SR-15+ Timecode Distripalyzer
1 - Adobe - Production Studio (Premiere Pro 2.0, After Effects 7.0 Pro)
1 - Stardraw - Remote Control Software
3 - Dtrovision DS-1818M 18-in × 18-out DVI Matrix Router
1 - Raritan / KVM switching network Paragon II
30 - thinklogical(tm) Fiber Optic DVI KVM Extender
2 - Cisco / Data switches: Catalyst 3560g
6 - Netgear / Data Switches FSM7328s
1 - Sencore Pattern Generator
1 - Sencore Projector Pro
1 - Sencore/Quantum Data 802b Test Pattern Generator
12 - 19" ViewSonic Monitors
2 - Planar - Touchscreens
22 - Furman - Power Conditioners, UPS and Rack Lights
12 - Furman LED Rack Lights
LOVE SELECTED CREW
Head of Projections:
Assistant Head of Projections:
Lead Projections Technician:
Head of Audio:
Asst. Head of Dept.:
Giga Sampler Operator:
Asst. Giga Audio Technician:
Lead Audio Technician:
Head of Automation:
Asst. Head of Automation:
Lead Automation Technicians:
Head of Carpentry:
Asst. Head Carpenter:
Lead Stage Carpenters:
Head of Rigging:
Asst. Head Rigger:
Head of Props:
Lead Props Technician:
Props Technicians: Dan Pribison
Head of Wardrobe:
Asst. Head of Wardrobe:
Lead Costume Technician:
David Paul Svisco
Ann Hoang (On-Call)
Sylvia Burton (On-Call)
Lead Wig/Makeup Technician:
Lead Wardrobe Attendant:
Catherine Poochigian (On-Call)
Mary DeWerth (On-Call)
Head Of Lighting:
Asst. Head of Lighting:
Board Op Moving Light Technician:
Lead Moving Light Technician:
Atmospherics & SE Lead:
Atmospherics & SE:
Lead FollowSpot Operator: