BRUSSELS — Luc Peumans of Belgian creative design practice Painting With Light produced the full visual design — set, lighting and video — for Music Hall Events’ new production of Grease, which recently played shows in Brussels and Antwerp, Belgium.
More details from Painting With Light (www.paintingwithlight.be):
Peumans worked in close collaboration with the Creative Director Bart Colby-Doerfler with whom he had also worked on the Holiday On Ice ‘Speed’ show in 2012, and together they developed the concept for this highly visual, contemporary version of Grease.
The idea was to take Grease into the 21st century offering up a really rock ‘n’ roll version of the classic 1950’s high school musical romance, complete with lots of cars, action, energy and excitement. The show also involved some elaborate props, and all elements of the production had to be made tourable for potential work in the future.
Peumans is a bit of a master at designing shows that look fantastic but pack down to almost nothing for travel … almost like magic!
Technical Production was in the hands of Bart de Coensel from The Production Box (who also worked with Peumans on Speed). For practical and logistical as well as creative reasons the set was primarily video based — with over 200 square meters of 16mm LED surface. This provided all the dynamics needed to quickly and effectively change scenes — as well as packing away very expediently.
“The video was central to the narrative and in establishing the locations — as a vehicle of modern scenography, when used properly it is an amazing medium,” says Peumans.
The two main video surfaces were a 20 meter wide by 7 meter high upstage area plus a show portal, which bordered the front truss, ran parallel with the truss line going upstage and then dropped down at a mid stage point, effectively forming a giant interactive pros arch, adding serious depth to the entire stage space.
The backs of two sets of steps left-and-right of the onstage set were also clad in the same 16 mm video product. – in fact there were six sliding stairs and six pieces of 2×2 meter video panels in the same 16 mm video product also travelling on a rail behind the stairs. Upstage of the upper-deck were two more sliding video panels measuring 4 by 2 meters creating extra depth.
Integrated into the set design was a small B-stage at the front connected to the main stage by two lightning-shaped catwalks. A live band was positioned in the gap between the two stages which were part of the set constructed by Brilliant Stages.
The video concept also incorporated live IMAG camera feeds from four operated cameras directed by Gerd van Geel, helping to bring the action alive and right out into the audience.
All the video playback content was created by Painting With Light’s Michel Al-Far in consultation with Peumans and Doerfler. This was run via a Pandora’s Box media server programmed by Katleen Selleslagh.
The gap between the downstage set portal and the upstage video truss was filled up with lighting fixtures spread out over four straight trusses.
Above the B stage was a flying platform that descended, and performers stepped into it for the pajama party scene towards the end.
Peumans chose 46 x Martin MAC Viper Performance profile moving lights as the workhorse lighting products, positioned all over the trusses and used extensively for key and back lighting.
Thirty-five Vari*Lite VL3500s did the general color washing all over the stage and forestage — Peumans really likes their fat beams and lenses, and they also make powerful back lighting effects.
“It’s was a cheerful up-beat show needing vibrant colors and lighting, and with so much LED onstage, I really needed powerful fixtures, hence the choice of Vipers and the VL 3500s,” he explains.
For that same reason he specified 50 x Robe ROBIN Pointes – some positioned overhead and some running parallel with the show portal — picked for their bright and well-defined beams that produce distinctive slices of light and numerous effects juxtaposed against the rear wall of light.
Also on the rig were 12 Martin Atomic Colors, 12 x Showtec City Painters, three Jem Gladiators, together with four Look Systems Viper NT2.6 foggers and two Concept Vi-Counts providing atmospherics and hazing, and four Robert Juliat Cyrano follow spots.
Peumans enjoys designing all visual elements together on a project and having these under his team’s control. “It brings a real continuity and fluidity to the work,” he comments. “It’s also very flexible, and we have all brought ideas to the table”.
Lighting was programmed by Niels Huybrechts using a grandMA2 full size, and all the lighting and LED screen was being supplied by rental company Phlippo Showlight from Belgium.
The production sound designer is Jeroen Ten Brinke and audio was also supplied by Phlippo.
More details from Philips Vari-Lite (www.vari-lite.com):
Philips Vari-Lite VL3500 Wash Luminaires Provide ‘Vibrant And Powerful’ Color for Grease: The Arena Spectacular
Belgium – Multi-talented theatre-lighting professional Luc Peumans of creative design practice Painting With Light has produced the set, lighting and video for rock’n’roll feast for the eyes Grease: The Arena Spectacular, specifying the exceptional power of 35 Philips Vari-Lite VL3500 Wash luminaires to flood the stage with stunning and vibrant colors.
Taking place in some of Belgium’s biggest arenas, the show was a fresh and contemporary take on the 50s classic high school romance story, injecting it with energetic dance routines and huge visual effects. Peumans therefore needed a wash light powerful enough to hold its own against the video elements, flooding each massive stage with intense color in a range of stunning hues.
“The concept behind the design was to create a big, modern and powerful look with vibrant colors that united the video and lighting and focused the audience’s attention to the different moments on the huge stage,” explains Peumans. “There’s also a considerable amount of LED, including a video screen of over 200m2, on set. It was therefore essential to use powerful luminaires that could hold their own against it, which is why I turned to the VL3500 Wash.”
The Philips Vari-Lite VL3500 Wash has an output that exceeds 70,000 lumens as well as varied options for colour and beam control. An extremely versatile luminaire, the VL3500 Wash features internal zoomable beam optics with either Fresnel or Buxom options, as well as Vari-Lite’s VARI*BRITE mode. From any zoom position, this mode can be engaged to offer a tight column of remarkably intense light. The VL3500 Wash also features CMY color mixing, variable CTO colour temperature correction and dual five-position color wheels.
“I love the clear/Buxom lens configuration which gave me the exact right beam optics for this show, maintaining a pure and intense output from a tight almost parallel beam to wide open washes,” continues Peumans. “The extensive colour range also provided me with endless creative possibilities.”
Peumans rigged the Vari-Lite luminaires, supplied by Belgium-based rental company Phlippo Showlights, on the three back trusses above the stage to create a powerful backlight wash that punched through the energetic action and video elements of the show. The lighting designer also positioned several of the luminaires above the B-stage and catwalks to work as front washes on the main stage.
For the second run of the show, Peumans decided to replace the VL3500 Wash luminaires with the VL3500 Wash FX, supplied by AED rent, to add another dimension to the design. On why he prefers to use Vari-Lite products for his large theatrical spectaculars, Peumans comments: “For me, they are the superior luminaires on the market for optical quality. Plus, they are incredibly powerful and have an excellent gobo selection. Not to mention they are universal and can be obtained all over the world which makes life much easier.”
