Says MD Rob Sangwell, "We all love working on Glastonbury and imbibing the spirit of the festival, and are very proud of our history with the event. I have seen many changes over the years, all for the better. The excellent line-ups plus the clamour to perform and be part of the community makes it even more special."
Fineline has built up the décor element of the Acoustic Stage over the years and especially more recently to include lush red drapes, and masking around the stage and in the ceiling, which really enhances the theatricality of the space.
This year, the Fineline team designed and custom fabricated a special chandelier with 40 spiral filament lamps to complete these deco elements.
With an impressive line-up of both established and breaking artists keen to show their talent in an acoustic environment, stage lighting was designed by Rob and Fineline site crew chief Stu England based on three trusses spanning the 40 x 22 ft. ground support system also installed, trimmed at a decent 9.5 meters.
This was rigged with 10 bars of PAR 64s and some ACLs, together with Martin MAC Quantum Spots on drop bars on the back and mid trusses. Quantum Wash moving lights on the mid truss were used to create the general stage washes, while MAC 101s on the back truss served as effective tab 'warmers', highlighting the sumptuous red drapage.
On the mid truss MAC Aura XBs and XB Plus's provided the beam work and rear key lighting, supported by Robe LEDBeam 100s for effects.
Avolites dimming and a Sapphire Touch control completed the lighting package, and joining Stu and Rob on the crew were Callum Ostell and Sam Kenyon. They also accommodated guest LDs and caught up with a lot of industry friends who passed through this popular venue.
Lighting in the Astrolabe theatre tent was co-ordinated by Hal Himsworth, resident LD for several years, with a great line-up of eclectic artists - from dance to physical theatre. With numerous specific requirements for various acts, the pace was relentless and virtually non-stop for 12 hours between performances and rehearsals.
A substantial amount of trussing was rigged in the roof to create a usable theatre grid and most of the base washes were created by static LED wash lights.
The rig incorporated all the performer specs, together with specials and extras as needed and featured about 80 fresnels, profiles, floods and PARs which were re-worked and often refocussed and re-gelled between acts - true theatrical style.
An Avo Pearl Expert with a Wing ran the lights, with Avolites dimming throughout.
Lighting designer James Loudon (Judge) is another Glasto regular who has weaved his magic in Circus for close to 20 years. Another vibrant line up saw a host of aerial artists, pole, trapeze, hoop and silk acrobatics and balancing acts. The idea was to make the venue almost in the round, so lighting had to fill 12m of headroom and a 3D space about eight metres square.
The upstage truss was horizontally hinged at approx. 45 degrees along the sides to form an arc around the stage, supported from this truss, at the mid stage ends, and were vertical trusses for side lighting positions.
Additional lights were on the floor and rigged to the tent king poles and flown trusses suspended from the king poles and cupola. A mix of Robe 600E Spots and Chauvet Rogue R2 wash lights on the deck were combined with LED battens serving as knee kickers. These were joined by a good selection of generics - PARs, profiles and fresnels.
All the shows ware rehearsed, pre-programmed and cue-stacked on the console - in another
