Page 46 - Lighting & Sound America (December 2019) Magazine

THEATRE

for the Etherland scenes, which, in their interiority, have a Sound
kind of fantasy element. When he last appeared in these pages, Nevin Steinberg
The automated portion of the rig relies heavily on Martin discussed his co-design (with Jessica Paz) of the jazz-dri-
by Harman MAC Encore Wash units, which, Poet notes, ven musical Hadestown; as you might imagine, Tina poses
provide the tungsten warmth that is especially needed for a very different challenge. To support the show, he says, it
the early scenes. Balancing these are Martin Mac Encore was necessary to design a multifaceted sound system.
Performance CLDs, for colder looks as needed, and Mac The current production, Steinberg adds, represents the
Auras to add pizzazz to the finale; the latter units are hung most fully refined version of the Tina sound design. It is
vertically on the bandstand set. also tailored to the singular footprint of the Lunt-Fontanne:
One of the most novel (and amusing) aspects of the “It has a long, low balcony overhang, which makes the
lighting rig is a set of Portman Lighting P2 Hexalines; the seats in the front of the mezzanine very good. Because the
product is a retro-style vertical striplight, each featuring theatre is so deep, we have a lot of ground to cover; for
six hexagonal openings. The units have become popular Broadway, we increased the size of the delay system, aim-
in the concert market—see last month’s story about ing for more power to reach the back of the mezzanine.”
Hozier’s recent tour—but are entirely new to Broadway. Also, Steinberg notes, the show covers several musical
“They give a really big scale,” Poet says, “and they offer eras, beginning with classic gospel and soul but veering
the contrast of warm, beautiful tungsten glow against into disco and a 1980s synth-pop sound. As a result, he
the rest of the rig, which is entirely made of LED units.” adds, “We needed to have a certain agility in the sound
The units, which are hung around the proscenium and system, as well as in terms of mixing and orchestrations.
also on the Brazil concert set, provide the extra bit of Everything has to do triple and quadruple duty.” An espe-
glitz that pushes the already-electric finale over the top. cially daunting challenge, he says, is “the concert at the
Along with Sugg’s second tier of video panels aimed at end, which is almost a stand-alone aspect; it has to feel
the mezzanine, Poet also installed a second set of like you’re at a Tina Turner concert and we have to deliver
Hexalines. the goods.”
Poet uses Robe T1 Profiles, with handles attached, as Steinberg also cites Phyllida Lloyd’s vision for the show
his followspots. He says he didn’t consider using an as a determining factor. “She was explicit about how she
automated followspot program, in part because there are wanted it to sound,” he says. “That translated directly to
“such skilled operators on Broadway.” He adds, “What I the design,” which requires a system that can fulfill four
like about the T1 is you can take out the frost and it is different functions, or “looks.” As he explains, “We have
bright enough to pick out people and details. You can the play system, to deliver the non-musical scenes; these
also tone it in to match the look of the scene.” These are as lightly amplified as we can get away with in a mod-
units provide the only front light in the show; most of the ern musical theatre environment. The second look is closer
rig is found in overhead, side, or front-of-proscenium to a traditional musical theatre approach, in which the
positions. The Encore Wash units, for example are character is singing as part of the plot. The third look is
placed in left-and-right side positions to sculpt the per- used when Tina, Ike, or the Ikettes are doing television,
formers. studio, or concert work, as part of the plot. The fourth look
The show features plenty of atmospheric effects, includ- is the full-out sound of the concert finale.”
ing MDG ATMe foggers plus a set of Look Solution Unique All four looks are achieved using the same system, but
hazers, the latter built into the deck to create swirls of low- each is distributed differently, Steinberg says. “There are
lying effects. Also used are City Theatrical SHoW DMX different degrees and different proportions of amplification.
Neo wireless DMX transceivers and QolorFLEX SHoW For example, there’s a mono center system, with wide
DMX Neo 4x2.5A dimmers for wireless effects. coverage, for play reinforcement, and there are large-scale
The lighting is controlled by an ETC Eos console, which, line arrays at left, right, and overhead, which we rely on for
as mentioned earlier, triggers the disguise media servers. the performance systems. The farther away you get, the
“We take a few MIDI triggers from the sound department,” more the delay systems have to do more work for all of the
Poet notes, adding that approximately 800 cues are called looks. Also featured is a surround system: “It isn’t used in
during the course of the evening. the dramatic scenes, but gets implemented progressively
Poet also mentions the advantage of having done Tina during the show, as we move in and out from an immer-
in Hamburg and London. Before the move to New York, he sive sound to a more two-dimensional sound. It’s a
adds, the programmer, Max Narula, “spent two weeks dynamic system we’re using in a living, breathing way, fad-
going through the London show file, so we had a basis to ing in and out for transitions.”
work with; there was no real programming time once we Designing this system “was part of the fun and one rea-
were in New York. Hats off to the Broadway technical team son why I took the job,” Steinberg says. “It was something
for working at such a fast pace.” I hadn’t tried before.” The loudspeaker system relies on

46 • December 2019 • Lighting&Sound America