Steve Cohen is one of the few in the industry who really know what it's like to light a show without the benefit of today's touring technology. Having worked with Billy Joel since 1974, he's keenly aware of the distinction between art and the hardware with which it is produced. But he's equally adept at designing with state-of-the-art gear, having done so for Joel, Elton John, Mariah Carey, Britney Spears, Justin Timberlake, Van Halen and Paul Simon, to name just a few. Steve Cohen Productions (SCP) is among the "first call" designers known to bring the "whole package," from concept to design, collaboration, programming and direction, along with a history of success with various production vendors.
One of his latest is the Billy Joel/Elton John Face 2 Face tour. He and Mark Foffano, who had a hand in the lighting design and directed the lighting for Billy Joel, along with Kevin "Stick" Bye, who directed the lighting for Elton John, talked about the tour.
"Over the years it's hard not to be hypnotized by complexity," Cohen says. "And it's also hard to not be drawn in to the latest and hippest video displays, the coolest animations, the most clever gadgets simply because they exist."
The Art
In his own humbling way, Cohen follows his thesis with supporting arguments backed by years of experience. "Remember, those of us that have been around for a while spent 20 years lighting with conventional instruments, the occasional moving light, chain motors and a stop watch. Once the digital world became so foolproof, in so many instances it took the soul out of the art. I fall prey to this as often as anyone, but I always have to remember first and foremost that I am here to create a physical environment to use light as an extension of the musical drama.
"Rock ‘n' roll lighting is an art form. When used correctly, it takes what you hear and creates an ephemeral and quite temporary emotional occurrence. If you can capture that and repeat it, you serve the artist. When I find myself designing for my own gratification, I never win. And I don't get asked back."
Cohen credits his long career in part to the human infrastructure and network of talent around him. "The key for me," he says, "has always been who I collaborate with. I can envision anything but I can't execute it without my co-conspirators, the programmer – whose title doesn't begin to describe his contribution – the production teams, engineers, riggers and the folks who approve the budgets and write the checks."
The Magic
For the last two years, Cohen has been heavily involved in producing a film called Last Play at Shea, a documentary that intertwines the story of Shea Stadium and New York's native son, Billy Joel. The experience crystallized his appreciation for the craft of touring.
"Having spent the last two years producing a feature film, it has all the more impressed me how we in the touring music biz are efficient and have a concept of time versus money versus energy expended; that is unparalleled in show business. Even with these huge shows, our roots as carnival roadies with ‘the show must go on' mentality makes this job a wonder at every turn.
"This show is no exception. Flying pianos, millions of dollars of custom video material, secondary stages, video slathering every surface could certainly be afforded. These are two of the richest guys in rock ‘n' roll. And there is an amount of staging and video for sure, but the core is still great sounding music, crisp beautiful lighting cues and a bit of visual impressionism. The goal was never to upstage, or draw comments other than, ‘Man was that a great show,' and ‘Boy did the fans get their money's worth.' I think we accomplished that."
And it was accomplished despite some interesting challenges. Foffano says that one of the biggest was keeping the sight lines from killing seats.
"Having two bands on stage surrounded by their gear for different parts of the show, and the show selling 360 degrees, meant finding creative ways of hiding band gear, back light and monitors so as to not affect the ticket sales. Tait Towers built lifts that were used on the upstage for the drum, percussion and keyboard risers to sink into the stage when the respective bands were not playing."
"Originally," Bye adds, "the plan was to lower in an upstage truss for Elton's set to add another layer to the design, but due to sight line constrictions, we were unable to accomplish this.
The automation saved seats and sight lines, and the bonus, according to Foffano, is that the stage has a "much cleaner, sleek look."
The Technology
Bye explains their choices of lighting equipment with a personal insight. "All automated fixtures have their share of strengths and weaknesses," he said. "Most people who know me know that I'm partial to Vari*Lite fixtures, having worked for the company in the past. We used a mix of Vari*Lite and Martin gear."
Both lighting directors use the Martin Maxxyz console. According to Foffano, it's "the current console of choice on all SCP tours. We've just had great success and support with it and the company."
"Mark is an expert programmer," Bye adds, "so it made my transition to the desk seamless."
As far as the use of video is concerned, Foffano describes how they integrated it into the show.
"We've used video as a light source as well as scenic reinforcement on our shows, and when you have the control and ability to create and edit your own content, you know when you need to push a mood or pull back to make sure you don't overpower something that needs no assistance. With this design, we made sure the layout of the LED screens were also a scenic element when they were not on, allowing us to light their surface when content or cameras were not displayed."
Bye explains how they used video to help set the two acts apart. "To further distinguish our set from Billy's, we used more graphic and cartoonish content in the media server, which was developed by Braden Stroup. On the Red Piano show, there was a massive video wall to deal with. On Elton's touring shows, including this show, we sell the seats behind the stage, so it's difficult to commit to an upstage design element. However, this tour is not set in the traditional 360-degree configuration. The stage is placed towards the end of the arena like a regular 270-degree show. So in essence, the audience becomes your upstage backdrop, and when you light them during the appropriate songs, you have a living, breathing, partying tableau."
The Sum and Its Parts
"This is an 18-truck tour, and seven are for lighting," Bye enthuses. "How many LDs are lucky enough to work with such a beautifully designed and massive rig? I had plenty to work with, and was able to draw from my co-workers' many years of experience."
"This is a work of collaboration," Cohen adds. "Billy and Elton, myself, Mark Foffano and Kevin Bye, tour production managers Keith Bradley and Bobby Thrasher and longtime FOH engineers Brian Ruggles (Billy Joel) and Clive Franks (Elton John) and many, many others. There is a lot of history here. Billy and I have been working together for 36 years, and I spent more than a decade working with Elton. What I hoped to achieve was a show that was unique to each artist, but felt like one cohesive show. Clearly the sum was much greater than its parts."
Following the Face 2 Face tour, Elton went right back to touring with his band in the States and Europe. Bye said that he was working on an Elton design for a show in Dubai, which utilizes Clay Paky fixtures exclusively.
"This will have been my second time being involved in the Elton John/Billy Joel Face 2 Face tour, and both times out have been great experiences and very rewarding."
Billy Joel & Elton John: Face 2 Face
CREW
Production Designer: Steve Cohen
Lighting Design: Steve Cohen, Mark Foffano
Lighting Director (Billy Joel): Mark Foffano
Lighting Director (Elton John): Kevin "Stick" Bye
Maxedia Programmer: Curtis Cox
Lighting Crew Chief: Jim Petrusson
Assistant Crew Chief: Shane Crowl
Dimmer Techs: Kevin Parsley, Jeff Quinn
Syncrolite Tech: "Scuba" Steve Sligar
Motor Tech: Greg Walker
Lighting Techs: Joe DiCarlo, Armondo Figueroa
Spotlight Tech: Suki Dukes
Maxedia Tech: Braden Stroup
Lighting Company: Epic Production Technologies
GEAR
36 Vari*Lite VL3000s
20 Vari*Lite VL3500 Wash fixtures
20 Vari*Lite VL500 Wash fixtures
32 Martin MAC IIIs
74 Martin MAC 2000 Wash fixtures
14 Martin MAC 700s
48 PixelRange PixelPAR 44s
55 Elation Impression LEDs
30 5X5 Chromlech Jarag fixtures
14 High End Systems Showgun 2.5s
24 Syncrolite MX3000s
26 24" 1.5kW scoops
14 Lycian M2 short throw followspots
Gallery: Billy Joel
Elton John:
