Hawthorn Theatrical supplied the equipment required to work alongside Routledge's regular lighting team headed up by Andy Hopkins. "I chose Hawthorn based on their enthusiasm for the project and their ability to supply a ground-supported marquee-shaped truss to fit over the main stage. This gave me full maximum height available at all times."
The rig comprised a large number of Martin MAC fixtures from across the range, Dominator searchlights and a plethora of generic fixtures all controlled by MA Lighting's flexible lighting controller, the GrandMA.
The GrandMA was also the main control used on the next project, with Routledge moving to work onboard the Queen Mary 2. Working for Stage Electrics and Belinda King Presents, his brief was to light the main dance show on the liner following a full cast change. With only six days from boarding in Barbados to disembarkation in New York, this was a major challenge, as the entire show is controlled by Medialon show control via MIDI to the GrandMA. The added complication was that Routledge was also to design and programme the show whilst logging the correct MIDI cues for Medialon. Using the theatre's state-of-the-art features, digital videos of previous rehearsals running time code enabled Routledge to work overnight with an empty stage, as all the necessary dance movements were available on video next to the control desk. "This project was a challenging prospect with the limited time available onboard, but due to the amazing flexibility of the GrandMA I was able to produce complex programming very quickly. This made the whole process most enjoyable and with the added bonus of 24-hour catering and Caribbean weather on this grand ship I couldn't have asked for better working conditions!"
(Lee Baldock)
