Working for Greek television company ERT, Stage One was asked to build the entire set for Eurovision 2006, which was held at the Olympic indoor arena, Athens. Designed by Ilias Ledakis, the set combined high technology with elements of Greek Theatre and comprised the main stage, the surrounding moveable stepped elements, along with aerial engineering.
The circular stage was 13m diameter, with a black laminated facia and a seamless plexiglass floor, beneath which were thousands of Bahco LED panels which could be lit in a myriad of different ways to create varying lighting effects. Integral within the stage, Stage One constructed nine segments, each capable of being moved independently to a height of twometres via hydraulically-controlled scissor lifts.
Surrounding three sides of the stage were six 'tribunes' - great flanks of treads weighing up to six tonnes apiece and rising to a height of 10 metres above the stage. Made of steel and perspex they could all be moved independently to angles of between 45° and 80° and had two pivots, allowing independent backdrops for each act. The 'tribunes' incorporated 250sq.m of high definition LED, which was used for projecting differing video images for the acts.
Stage One's unique aerial engineering capabilities were also utilised as the Company was responsible for 'flying in' not only both of the presenters, but also a beautiful 4m diameter golden globe, adorned with winged performers. The two tonne globe was constructed from steel and then covered with fibreglass. Finally, in a scene to remind the world of the beauty of the Greek sea, Stage One constructed 30 'waves' made of timber, polycarbonate and screen material, which flew over the stage - some with aerial artists attached.
All moveable elements were controlled using Stage One's superb QMotion control system, using the Company's own Next-Q software and Q-Pos positional system. The system allows for the pinpoint accurate movement of objects and people in a highly reliable and theatrical way. Jim Tinsley added, "Ensuring the system is flexible has become key during our ongoing development of Q-Motion® and we've now progressed it to the point where we can install and commission a massive 50 axis of automation in only two weeks."
(A full review of the Eurovision production will appear in the July-August issue of Lighting&Sound International magazine.
(Lee Baldock)
