The lightshow is designed to work flexibly and easily for both acts. This time around, Bowers opted for a fully generic lighting rig featuring lots of PAR cans, ACLs and some punchy and precise followspotting.
"I'm absolutely meticulous about the rig focus," he says as he explains his philosophy of creating a 'depth of perception' in the rig using a very tight focus that bounces the light beams around the rig and the stage. This gives an illusion of lights moving even though it's a static system.
The flown system was based on two 40ft trusses, front and rear, made from pre-rig and fully loaded with PAR 64s - narrow bulbs in the rear and wides in the front - plus six bars of ACLs. This is a very traditional and entirely appropriate approach to the job, where the two groups very much take centre stage, needing little accoutrements to add to their vocal harmonies and slick, entertaining sets.
Eleven ETC Source Four 26° profiles were the 'specials' on the front truss, and Bandit also supplied four Lycian 2K FOH spots. The two acts alternate the running order each day with a 20-minute interval. The Four Tops like a bit of smoke, while The Temptations definitely don't, so the two DF50 machines get a break during their half of the show.
Bowers operated the show using an Avolites Sapphire 2000 console; dimming was also Avo driven. Bandit supplied two crew - Nigel Julian and Tom Crosbie. Julian has worked on the last three Tops/Temps tours and comments that it's very straightforward technically: "Although areas like the focus can take longer, other elements are a lot easier - for example, the Pars are either 'on' or 'off' so fault finding is a lot simpler than a moving light system."
(Jim Evans)
