Professional Lighting & Production - Summer 2017 - Page 28

28 • PROFESSIONAL LIGHTING & PRODUCTION New York and London-based theatre consul- tancy firm Charcoal Blue has been collaborating with Massey Hall on the upcoming renovations, and as such were tapped to help design the spec for the lighting package ahead of the original schedule. Canadian lighting designer Jaye Murphy of Jamco also provided input on the plot, adding a valued perspective from a touring veteran. The sale went to tender, and Christie Lites was eventually awarded the contract, bringing regular collaborators like longtime rental rep Ben Kantorovich, technician Sean Stephens, and Ottawa-based sales rep Peter Eady into the fold. McKendrick says the lighting package is a very welcome addition that will bring diversity and dynamics to the shows hitting the stage moving forward. After all, a show at Massey Hall is a major milestone for many performers, and it’s in everyone’s best interest that they be able to deliver a truly special experience. “We were finding that more and more of the shows coming through were just carrying ground packages and no overhead lighting, so kind of a departure from when more tours were carrying their full rigs,” McKendrick shares. “At one point, we had 23 or 24 shows in a row using the same overhead rental system, so it made a lot of sense to push ahead with this investment now.” Designing the spec, the collaborators spent a lot of time going through recent produc- tion riders, identifying current trends and the equipment that was coming in most frequently. “We were also considering the products that are readily available in rental houses around Toronto for replacements or add-ons and things like that,” McKendrick adds. Much of that work had already been done, as The Corporation of Massey Hall and Roy Thomson Hall is conducting a lighting refit at the latter venue this coming summer. McKen- drick explains that the technical team between the two venues had done extensive testing on fixtures and gear from various manufacturers in that space, and that some of those tests informed their decision on what to bring into Massey Hall when the somewhat unexpected opportunity to do so arose. The venue’s console programmer and oper- ator, James Dike, was also able to offer input on the spec, mainly speaking for or against specific fixture choices. He echoes the goal of providing a rig that could enhance shows from productions not carrying overhead lighting, but adds that, at the same time, the fixtures had to be common enough that any visiting produc- tion could take advantage of their capabilities and provide enough flexibility to let each show stand apart from the one before or after it. Kantorovich has been Massey Hall’s rental rep at Christie Lites Toronto for close to 15 years, granting him good knowledge of this unique performance venue and its equally unique op- erations. “Massey’s not easy,” he admits, speaking from a production standpoint. “You have to be really in sync with the union [IATSE Local 58, which has an exclusive contract with The Corporation of Massey Hall and Roy Thomson Hall], really in sync with the board operators, in sync with how the venue operates, and all the difficulties that come with presenting what’s essentially a string of one-nighters in a really unique venue. It’s a very professionally-run place with a great group of people, but does have its inherent challenges.” When the RFP for the lighting retrofit went out, Kantorovich asked Eady, his Ottawa-based colleague on the sales side, to partner with him in developing what would be the winning proposal. They also tapped Sean Stephens for his input on the project. Stephens had long been Christie’s tech for load-ins on the vast majority of shows for which the company was providing a rental package. Coinciding with the Massey Hall upgrade, Stephens was transitioning into a more permanent role as a technical project manager with Chr ѥ1ѕ́M̸!ɽ՝)ٕȀ啅́хɥѼѡх)Ց́ѥєݱ5͕)!́Ʌѥ̸+qMѡѥ݅́Ёəгt)Ѡqٕ͡܁'eٕٔȁЁ5͕!)'e͕ٔḾȁѕ!)ѡٕՔݕéɕѕѡɕܰ)éɕЁѕ́ݸɥаͼ)ѕɥЁѼɽЁ܁лt)Qхѥ܁她)5͕!éѽɥ͔ɕ́ͥ)ЁЁ5ѥɕ̰Ց)镸5 YȁAəɵ̰ԁ5 Y)Aɽ̰5 Ʉa1]̰͡)ѽ1ɽ̸)Qɔɔͼ؁ Aé܁ՉĴ)եѽ́ḾāIMȁ1]͠) յɕ̰ѡѕȁݡɔ)ѡqQɥ́Օ)ͥ́ɔtMѕ̸́q%ӊéɐЁѼ)ٔM䁥ȁɥѡ͔̻t)QḾɔ5-ɥéɔ)ɕЁ͍ٕɥ̰ݡѡѼ)͕Ёѡ؁1ٔͥ%ѕɹѥɅ)͡܁ɕq$ѡ՝Ёѡeɕ)ɕɕЁѥѼѡ)ݔt5-ɥ͡ɕ̸)!́ѡЁ䁽ѡ5ѥɕ)ɔх́ѡЁɕձɱɽѡɽ՝)5͕!ݥѠѽɥɽՍѥ̰ѡ) ɥѥ1ѕ́5ѥ䁡͔)ѡѡɔЁѡٕѵи)5͕!éх́́9ѥ!ѽɥ)Mє ́ͥЁЁѡ)́ݽɬѡЁəɵѼ)ѕɥȁѕɥȸ]ѡٕՔ݅́)Ѽͽ܁ѥͥѥ́Ѽѡ)хéɕЁɅѥѥɽ)ѥͥѥ́ɔɕѥٕ䁱ѕQ)ٕɡݹх́́ͼȁݹх)ѡЁӊéՅ䁽ٕѽѡՑݡ)ͽѡѡeɔѼɕ́ѡ)܁ͥ)́ܰѡɔɔ͔Ѽ٥)́ѡɕ͕̃Lqݡ́гt5-)ɥ́ͅݥѠՍ!́ѡЁݡӊe)ɔɥ̰ѡ݅ЁѼ锁)ѕѡɥ́Ѽݸ)QѥɔɽЁѽѡȁ)ɕ͕ѥݥѠѡ)ѡٕѵЁȀ؁)ѡȁѡєхѥ)5ɍİ܃Lݡ݅́и)Mѕ̰ɽ́չՔȴ)ѥٔ́ѡаѡ́ͥͅЁ)ѽѡȁٕե샊q Ёɽѡ)ɕхݽɱЁЁЁЁѡ)ͥt՝̸+q]ɕѕЁѽɥt)Mѕ́ѥՕ́ЁѡՅх)ѥq$͡ѕ́ɽ