TRP worked with the band for their Come to Town Christmas TV Special which previewed the tour's circus theme. After rehearsals at 3 Mills Studios the TV show was shot at Granada Studios in Manchester. Given that multiple effects were needed in a tight space, TRP opted to use Navigator software from FTSI (Fisher Technical Services) with their MOD winch system. This allowed the crew to rig multiple effects off individual winches and also to achieve the speed and acceleration required to make the effects look alive and "not like a tired old corporate show".
Once planning on the tour started TRP were brought in to work with production manager Chris Vaughan from the Production Office, the tour's head rigger Phil Broad and show producer Kim Gavin. The remit was to provide the automation and rigging for the performer effects, as well as the health and safety package required for all of the aerial effects and circus effects.
For the automation on the main stage, two of FTSI's F series winches with Navigator software were used to make a 2D bridle 43m wide and 19m high to work within Es Devlin's set design, based on a concept by show producer Kim Gavin. The rig allowed for multiple effects from one system. These ranged from trapeze acts to performers with flaming hoops around their waists. The rig could also be split to allow for two jack in the box effects.
Over on the B stage, the show opened with a 9000 cubic feet hot air balloon with a performer suspended in a basket below it. This was tethered via three Fisher Q winches. The winches are a compact zero fleet unit using Dyneema that sat at the base of the B stage. Each winch has 30m of travel, a SWL of 250kg and speeds of up to 2m/s. Each winch was in a self contained frame that allowed them to be locked onto ballast cages which were independent of the B stage structure. TRP opted for FTSI's Navigator system to handle the sophisticated 3D moves required.
As part of the health and safety package, TRP also advised on the show specific training and inductions required by the aerial performers during the rehearsal period. TRP then provided the performer safety equipment required for a wide variety of effects and set pieces throughout the show, this included everything from simple work restraints to full performer flying harnesses.
(Jim Evans)
