The lighting rig was relatively straightforward and hung on the theatre's house bars. For moving lights, Entec supplied Martin Professional MAC 300 Washes - which fit perfectly into the space and the spec. These were joined by 16 ETC Source Four profiles with 19 degree lenses, 27 x Source Four PARs and three 20-lamp MR16 Birdie Battens.
The vast majority of the lighting was static throughout the performance, and most of the fixtures were used for general stage coverage. For the delivery of Flanagan's gags, it was essential that his facial expressions could be seen clearly from all around the room, and therefore good, clean shadow-free lighting was absolutely crucial.
Dick Hayes specified the d&b Audiotechnik audio system following the initial site visit. It is a combination of E & Q series, renowned for very clean quality and excellent spoken word reproduction. The show was engineered by Entec's Rob Maynard.
The system was powered by four d&b D6 proprietary amps per side, with all the processing - EQ, time alignment, etc - set up in these.
The console was a Crest XR 20 analogue board. The only inputs were vocals and a bit of playback from Tascam CD1s. Flanagan likes his voice to be completely unadulterated by effects - just as it comes. Maynard used two Klark Teknik DN370 dual channel EQs - for the left & right mix, monitors and the front filling E3s - and two dbx 160 compressors - extremely subtly - on the vocals for which Flanagan used a Shure SM58 wired mic.
(Jim Evans)
