HSL solves the ∑(No,12k,Lg,17Mif) equation
- Details
Lighting was designed by the band’s long term LD Andy Liddle, with equipment supplied by Blackburn-based rental specialist HSL, project managed by John Slevin and co-ordinated on site for them by Andy Chatburn.
The show presents selected deconstructions picked from New Order’s vast body of work, played by the band and a 12-person synthesiser ensemble from the Royal Northern College of Music.
Gillick designed the stage set comprising the 22.5m wide by 7m high structure upstage of the band that houses the 12 synth players. This was engineered by Star Events and, together with the trussing providing the overhead lighting positions, had to be shoehorned into the Studio’s 24.5m wide 1979 Space Frame superstructure, a delicate operation undertaken by UK Rigging.
A striking large-scale louvre system, created by Scott Fleary, is integral to the set and sits in front of the 12 keyboard cubes, fabricated by Hawthorns and installed by Take One Scenic. When closed and in transition, the 12 louvered panels act as a front projection surface and when open, a vibrant array of lighting and other visual effects are revealed.
“Many inspiring people and excellent companies have united to make this production happen” stated Andy, “It is energising, highly cerebral and fertile and many ideas have been discussed in a very invigorating atmosphere,” he enthused.
Production manager Dave Lawrence oversaw the whole process and Andy was delighted to hear that HSL would be the stage lighting supplier.
In addition to that, they are also supplying the site-wide electrics and power distribution, general lighting for the bar and foyer areas and safety lighting throughout the space.
Robe BMFL Spots are the main hard-edged lights of which there is a double row rigged on two trusses above the stage and set. These were chosen for their intensity, flexibility and the very wide range of effects that can be created.
For side lighting Andy picked a combination of more BMFLs, ETC Source Fours and Claypaky Sharpies.
Inside each of the 12 cells of the structure is a Robe DL4X Profile fixture, used both for projecting onto the white lining of the cell, and blasting beam and breakup effects through the louvres. Each cell is internally lit with two SGM P5 LED floods giving off a subtle range of intensities.
Martin Atomic 3000 LEDs are used over-stage and above the audience. As well as being an integral part in the show, Andy is taking advantage of their full duty-cycle and using them as venue work lights, supporting a grid of Martin MAC Auras, also in the ceiling, utilised for walk-in and room lighting.
Four-lite Molefeys are rigged on a different rail of the upstage trusses in a mirror position to the rear BMFL Spots, and the front and key lighting comes from a row of ETC Source Fours.
Andy has enjoyed working with HSL on the project for which Andy ‘Top Hat’ Chatburn acted as the chief LX on site. “The whole HSL team has been fantastic as always, the kit has been excellent - and a big shout-out to Matt McCall and Joy Brown from the warehouse who have given it amazing support and organisation.”
The show has received massive critical acclaim and everyone is now waiting in anticipation to see if the concept will be commissioned to appear at future arts events.
Says John Slevin, “HSL and I have worked on a number of MIF events now, and it’s a great experience. The venues are different, the artists are interesting and the shows always make you think. Working with Dave, Andy and MIF17’s head of technical Jack Thompson is a real pleasure.”
(Jim Evans)
