The director of photography Massimo Pascucci reports, "The concept of the lighting design stems from the need to strike a fair balance between the purely theatrical setting of the sets designed by Gaetano Castelli and the need to transform them into a sort of concert stage, in order to achieve spectacular effects during dances, acrobatic exhibitions and conjuring tricks."
The lighting consists almost entirely of Clay Paky units. In detail, 70 Alpha Profile 1500s are used for the orchestra, backstage and audience backlighting. Fifty Sharpys have been positioned vertically in mid-air on eight tubular structures behind the orchestra, with others parallel to the proscenium of the theatre and on the ground behind the entrance door. Thirty-six Alpha Beam 700s have been arranged around the outer edge of the theatre for the side-lighting during the dances and when special effects are required.
Pascucci says: "I knew the Alpha Profile 1500s well. I chose them for the high power output they are capable of: I have seen them working at a height of over 12m inside Cinecitta Studio 5, one of the largest theatres in Europe."
"With regard to the Sharpys, I needed an unobtrusive lightweight spotlight I could put in full view behind the orchestra at a height of 5 - 6 m without disturbing the elegance of the setting. Sharpys are able - with their awesome power - to be highly effective on stage. They are almost able to make the show on their own."
(Jim Evans)
