Produced by John Frost and directed and choreographed by So You Think You Can Dance’s Kelley Abbey, the musical that inspired new generations to fight for fame and light up the sky like a flame is back! Currently playing at Melbourne’s Regent Theatre, Fame will tour the nation for the next few months.
Fame is, almost uniquely, a classic of cinema, television and music theatre. The movie, released in 1980, won an Academy Award and swept the world. The TV show ran for six seasons, won numerous Emmy Awards and was broadcast in over 70 countries. Fame – The Musical ran for a decade on London’s West End and has been seen by over 10 million worldwide.
Lighting designer Trudy Dalgleish designed a rig dominated by Martin moving heads including ten MAC TW1 narrow lens units, thirty-six MAC2000 spots with a mixture of standard and Woodroofe gobos, and twenty MAC2000 wash.
”I use the MAC TW1’s as people lights,” remarked Trudy. “They’re situated on the advance truss and FOH truss from where they can pick people out with their narrow lens beams. They’re a great colour temperature for this. I have to say I love the TW1’s!”
MAC2000 spots are used for effect lighting but it is the MAC2000 wash that Trudy simply adores.
”They’re fantastic the way they spot and also flood,” she said. “They really are the workhorse of the show. I use them for effect, for colour washes, to light people, to light sets – basically they do everything! They’re nice, bright and never break down.”
Trudy always request Robert Juliat follow spots for her productions in this case two Aramis and one Cyrano models were specified.
”There’s nothing like the Robert Juliat follow spot,” she declared. “The internal frost is their best feature and also just how intense they are for how big the unit is. All of the operators much prefer Robert Juliat follow spots over anything else as they are really operator friendly. I think that they actually talked to operators before they built them!”
The show is very hazy thanks to four Look Solutions Unique Hazers which just keep on doing what they do best.
”In a venue with a lot of air conditioning and air movement I find the Unique hazers really good at pumping out the haze and keeping it there,” commented Trudy. “For control I specified a MA Lighting grandMA, which is currently my preferred console, as it can control all of the media as well as the show. A lot of the show is time-coded as it is impossible to call due to too many cues. I find that the grandMA console is best for time coding as it’s the easiest to plot and the easiest to move the time-code around. In fact I reckon that’s its best feature.”
Lighting was supplied by Bytecraft Entertainment.
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