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grandMA in step with Strictly Come Dancing Live
The UK tour of Strictly Come Dancing Live - the arena version of the hugely popular BBC TV series - has all its lighting controlled by a grandMA full-size console for the first time.
The lighting design is by Mark Kenyon (also for the TV show) and the show was initially programmed by David Bishop during pre-production at Newcastle Arena. Mike Rothwell specified the grandMA and is the Operator. He also did the 2008 Strictly Live tour, and this year decided to make the move to grandMA because, "It is such a stable, reliable system." It is the first full tour he's operated on the desk, but he was confident that going with grandMA was the right move, as he'd seen them in action on many other projects.
The action packed show is divided into two halves and contains nearly 350 lighting cues. It follows a similar competition format to that of the TV series, with the audience texting in votes for their favourite out of eight couples each night.
The lighting rig covers the large dance floor area and is based on five split trusses traversing the floor horizontally, and a central spine running vertically up the space, with another truss upstage of the pros arch of the stage providing band lighting positions. There is also a sub-hung moving box truss in the centre of the dance floor containing six scenic chandeliers and a giant 2.5 metre diameter mirror ball.
The grandMA is controlling over 200 moving lights - including Clay Paky Alpha Profiles and Vari*Lite VL3000 Washes with narrow lenses plus multiple Robe moving lights. These are mainly positioned on the trusses. On the floor are twelve GLP Impression LED wash lights at the stage end.
Other fixtures include 300 Pulsar ChromaStrip LED battens, some ensconced in the set, on the stairs and bordering the upstage projection screens and pros arch and 4-lite Molefey blinders scattered around. The trusses are all toned with i-Pix Satellite LED ‘bricks', and dotted around the perimeter of the dance floor are 48 floor PARs. The wide stairs leading down between the stage and dance floor are illuminated with twelve channels of Schnick-Schnack LED strips, and a large LED starcloth stretches the full width of the upstage area.
Four layers of Catalyst digital media content, projected onto the ‘fan' screens behind the band, are also being triggered via the grandMA. The video sources were supplied by Mark Kenyon. Rothwell really likes the MA system's networking capabilities. "Being able to monitor what's happening across the whole network is very useful, and the networking just works and communicates extremely well." And Bishop adds: "It was my first ever show on the grandMA and for the size of it I found the console very easy to take to."
He says he's definitely going to specify grandMA on all his forthcoming projects and he's looking forward to the arrival of grandMA2.
The console - along with five MA NSPs (Network Signal Processor) and a grandMA light for backup - is being supplied by the tour's lighting and sound contractor, Sonalyst. The tour is produced by Phil McIntyre Entertainment under the production direction of Andy Gibbs.
photos: Louise Stickland
8th May 2009
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