The show was made by the BBC's Classical Music TV department which has been responsible for Proms in the Park, and follows the success of Flashmob: The Opera - a live opera event staged among commuters in London. Albert Square in Manchester city centre provided the main focus of the hour-long performance where a 16-strong orchestra accompanied the songs, and a giant screen relayed scenes from across the city.
A crowd carrying a giant cross walked in a procession from Sackville St Park, via Chinatown and St Peter's Square to the focal point at Albert Square. At the same time, Jesus and the disciples made their way from Cathedral Gardens before converging on Albert Square for the trial scene with Pontius Pilate. The event concluded with the resurrected Jesus singing from the top of Manchester Town Hall.
As lighting director Bernie Davis explains, the main challenge was to coordinate a live broadcast event over five separate sites, in areas of public access on a busy shopping day in the city. Bernie looked after the main stages in Albert Square while LD Steve Whittaker took care of Exchange Square and Cathedral Square where the last supper and the betrayal and of Jesus take place. "Cable runs were a problem in the street scenes so we kept lighting to a minimum in these areas. We just used an assortment of Arri 2ks, 1.2 MSR, Pars on local dimmers and had ELP crew on hand with hand kits," explains the LD.
Thousands of people descended on Albert Square, which was illuminated by a 6k mounted on a cherry picker. Two stages were set up in one corner and although on the surface they looked very similar, featuring two identical lighting rings, they actually performed quite different functions. Firstly, the host stage - from which Keith Allen compered and where scenes from the passion play took place - contained a range of Mac 600s, PixelPars, PixelLines and Par cans. Four lights were deployed to illuminate the audience while two Pani followspots operated by local crew tracked the performers.
As Davis explained: "On this stage, Pars were used to create a theatre-style cross-light, so that everything was evenly lit with no selectivity. Virtually every part of the stage was illuminated. This area needed to be flexible as most of the comparing and some scenes took place here. Also the finale sing song was delivered from here where all the cast would congregate."
Adjacent was the Music Stage which housed the orchestra. This area was predominantly backlit, creating more of a light entertainment feel, rather than that of a pop concert. "The musicians need to be out of the elements and therefore set back from the front of the stage. Pars were used to subtly light the faces of musicians. They were only used at 20% at the front whereas at the back they were up at 100% where I could indulge in more varied and stronger colour changes - including a red, yellow and green look," said Davis.
Bernie's Proms experience had taught him to consult with the musicians to make sure they are comfortable. For example he described how he purchased some special battery-powered LED music stand lights for use by orchestras. "These are much safer and tidier as there are no cables and wires. Being LEDs they are also very bright and provide excellent score visibility for the musicians. ELP keep these in store for us for such occasions."
Praising the work of the ELP Manchester crew, the LD conceded that there had been many changes from the original lighting brief. Hardly surprising for such a bold innovative project! "Dar
