The story of the Sydney Opera House has more twists and turns than most operas: this is a tale you couldn’t make up. The architect walked out. The Premier died. The costs ballooned and the fate of one of the world’s most iconic buildings hung in the balance.
From the producers of Handa Opera on Sydney Harbour came The Eighth Wonder, an outdoor opera experience in an exciting new setting with the Sydney Opera House as the stunning backdrop. Enter a nostalgic Australian wonderland of Hills Hoists and cricket pitches, and Opera Australia’s first silent opera.
The 100-metre wide steps of the Sydney Opera House were transformed into an opera stage for the first time ever, harnessing cutting-edge technology to deliver a story that shaped the cultural landscape of Australia. Platforms glided across the steps, delivering the fast-paced action. Giant screens unfurled to display historic photos and giant glowing balls of paper, projections and lighting effects completed the spectacle.
Lighting designer for this extraordinary event was Trent Suidgeest with Peter Rubie and Blake Garner programming the lighting. Chameleon Touring Systems supplied the gear and crew.
“The lighting was mainly about bringing focus to the steps,” explained Trent. “As the stage width is so large and imposing we needed a
way of honing the eye to the rolling stages. It was all about micro and macro – going from a huge spectacle to a tiny piece of action.”
Trent didn’t have the luxury of an overhead lighting rig plus all of the lighting positions were shallow and even back light was difficult. The rolling stages were self-contained with wireless technology, waterproof Birdies and LED tape on their front edge. The giant paper balls were internally lit and coloured by ShowPro EX36 LED Floods and more Floods were deployed around the site.
Trent was thrilled to have four of the new Claypaky Scenius Profiles on the show and they soon became the workhorse of the production.
“I had a look at the Scenius at Chameleon and fell in love with it!” he declared. “I had some nervousness during rehearsals building my cue list as I was planning to rely on a fixture I didn’t really know well yet. They were also one of the last pieces of the rig to get installed so I needed to hold out even longer. However, I was quickly reassured as soon as we got them fired up. They were terrific; very responsive control, lovely colours especially in the subtle swatchbo
ok range, and super bright. They were rigged in well-worn weather tents – fairly scuffed and frosted up – two either side of the steps in a high-side position often throwing 50+ metres across the stage. They were remarkably bright, providing the keylight for the rolling stages, and were really cutting through the rest of the rig.”
Trent reported that both Peter and Blake were impressed with the Scenius especially its responsiveness with shuttering.
“It was great to use a fixture where the framing shutters responded quickly and fluidly, rarely hitting the physical stops that so frequently cause issues in motorised framing shutters,” Blake said.
Trent also utilized Claypaky Sharpy Washes which were sitting on the steps from where they could ripple up and down the steps.
“They were used for
few purposes including shooting low and across the steps to colour and find interesting lines across the step edges,” said Trent. “Then we could tip them up slightly to provide a Fresnel-style colour wash to the singers, and in the final moments, when the Opera House is unveiled as a finished building, they were used as a beam light running through the air.”
Robert Juliat Cyrano follow spots delivered the ‘perfect brightness’ according to Trent.
Claypaky Alpha Profile 1500s were rigged at a head height sidelight position staggered up the scaffolding system, five per side, becoming a framed sidelight option. Another eight were located FOH, two per side and four in the centre with custom gobos, including an Aztec motif which plays into the storytelling as part of architect Utzon’s inspiration for the building.
Photos: Hamilton Lund, Prudence Upton, Peter Rubie
