Come Fly Away, the Twyla Tharp show based around the music of Frank Sinatra lit by Donald Holder took the showfile from their grandMA console into FocusTrack to work out which focuses were used by which lights in the show. The lighting team, including associate lighting designer Jeanne Koenig, assistant Caroline Chao, programmer Joseph Allegro and head electrician Brad Robertston then used FocusTrack to control the console to bring each light on in each position in turn to take a photograph, which was then incorporated into the show's FocusTrack.
The Addams Family, lit by Natasha Katz and programmed by Aland Henderson, used FocusTrack to generate lists of used focuses, which were then used to photograph each light in each focus in the correct scenic setup by the team of production electrician Michael Pitzer, Mike Hyman manning the PRG V676 console, assistant lighting designer Joel Shier and moving light tracker Alec Thorne.
Meanwhile at Red, lit by Neil Austin, FocusTrack was used to record the focuses of each unit in the entirely conventional rig during the show's London run at the Donmar Warehouse; this gave a solid record from which Austin and US associate Pamela Kupper could create the New York lighting, adapted to the revised set design required by a larger theatre. FocusTrack was then used to precisely record the focus of the New York rig, wirelessly controlling the Strand 500-series console to turn on each light in turn to leave production electrician Jon Lawson with a comprehensive focus bible.
In London, FocusTrack was used to document the lighting for Love Never Dies, the sequel to Andrew Lloyd Webber's Phantom of the Opera, with lighting by Paule Constable
In Chicago, FocusTrack continued its long association with the hit musical Billy Elliot, which has been using FocusTrack since the show made its debut in London in 2005.
(Jim Evans)
