The innovative stage and set design was created by Gearhouse's Tim Dunn. He wanted a distinctive, stylish structure based on mellow curves and clean lines that complemented the surrounding urban environment.
He achieved this using several integrated elements, including a 25m domed roof - essentially the trussing structure from an In2Structures MaxiDome - with clear skins. The downstage elements were flown from the trussing superstructure of a 16m high StageCo roof system above, and it was also supported by four ground support legs per side. For convenience, it was landed onto the stage by crane. The total stage width including wings was an impressive 38m and was constructed by Gearhouse's set building company, SDS.
Four upstage/downstage lighting trusses were sub-hung from the StageCo spans above the Dome roof, enabling Dunn to light the stage action through the clear skins, adding an extra spatial dimension to the event venue.
Dunn integrated 168 panels of Lighthouse R16 daylight screen on a raised ground supported platform running around the back of the stage, further defining the gentle curvature of the overall design. Even though this spanned the whole stage width, it's slim conformation ensured it was non intrusive, totally avoiding the 'TV set' look phenomenon.
At FOH, lighting and visuals were run off two grandMA full size consoles. Lighting was programmed by Dunn, and run for the show by Sean Rosig, while Dunn programmed for the closing ceremony of the Indian Premiere League cricket series in nearby Wanderers Stadium, which he also designed and which took place the next day.
A second grandMA video server was used to pixel-map 105 i-Pix Satellite LED 'bricks' that were attached to the underside of the roof, spaced out to form a canopy of coverage. Video could be run through these to match with the screen output, and they were also run as pure lighting effects. The idea was that when illuminated, the roof structure completely vanished, adding yet another layer of dynamics and shape to the stage.
The lighting rig included 140 moving lights - a mixture of Robe ColorSpot and ColorWash 2500 and 700E ATs, Martin Professional MAC 2K Profiles and Washes, plus MAC 250 Washes.
Audio was supplied by Gearhouse Audio, with Llewellyn Reinecke running FOH and Tom Gordon on monitors, both using Yamaha PM5D consoles. At FOH, there was also a Yamaha LS9 console for extras like MCs and playback channels.
The arrays were 12 VDOSC elements on V towers on the outer edges of the stage, with eight SB28 subs a side ground stacked. Six dV-DOSC in-fills were used for front fills, together with two SB28 subs underneath the centre of the stage.
For more on this event see the June 2009 issue of Lighting&Sound magazine, coming soon.
(Jim Evans)
