Hitting the Melody Road with Marilyn Lowey, Gregg Maltby and Michael Weiss
Neil Diamond’s 2015 tour kicked off Feb. 27 and wrapped up its North American run on May 31 at the Pepsi Center in Denver. The tour has now headed overseas, with tour legs planned for Europe and the U.K. before traveling to Australia and New Zealand later this year. It’s all in support of the artist’s 2014 album release, Memory Road, but the shows will also feature, inevitably, such old-time hits as “Sweet Caroline,” “September Morn” and “America.”
PLSN caught up with LD Marilyn Lowey, lighting director Gregg Maltby and production/tour manager Michael “Mikie” Weiss for their multi-faceted perspectives on the latest looks for the 74-year-old singing and songwriting legend.Marilyn Lowey
Lighting Designer
PLSN: The first thing I notice is that the upstage video wall is diamond-shaped. The lighting rig follows the contour of it nicely. Was it strange designing something literal to the artist’s name?
Marilyn Lowey: Obviously, it’s a play on Neil’s name, but we have never really done anything like this on a previous tour. Neil had done a TV promo show for his new album where they incorporated his name as a neon sign placed on a roof, so we ran with it. Neil makes his entrance though a door we had built in the video wall itself.
It looks like the diamond is surrounded by neon lights.
I found touring with neon is a nightmare. But Upstaging has these brand new Sabers that we use like the old VersaTubes. They resemble neon. We have them built into the set.
I notice you play all media on the stage LED, and utilize the side screens for I-Mag purposes. How did all this come about?
We never have fully utilized video on Neil’s tours in this manner. He was nervous about it at first, thinking it may overshadow his live performance. Because people are glued to TVs, he was concerned people would lose sight of him and the band, and watch the video. I don’t think it was until he was actually at rehearsals and saw what we were doing that he felt comfortable. Screenworks provided us with a great 12mm screen.
What is the design process like for you on this tour?
Seth Rapaport is my associate designer on this show, and he does my CAD work and renderings. I start out by coming up with the truss structure over the band layout on stage. Then I usually run through it with Michael Weiss, our production manager, to check the logistics on whether or not I can do what I have in mind.
Then Mikie [Weiss] gives you the thumbs up, I take it?
He catches the logistical stuff and gives advice that I value. We have butted heads on occasion over the years, but he’s looking out for our best interests. Seth will fill the plot in with light fixtures after a few specifics I give him.
Does Neil get involved with the lighting?
He’s comfortable and gives me free rein on all the lighting. He did get involved with choosing and creating video content. We worked closely with Tim Durant, who made us any specific content we needed. He was just great to work with.
I notice you have all new fixtures in the rig. But a distinctive lack of typical wash fixtures
The [Martin MAC] Vipers are the workhorses out here. I use the [Viper] profiles as key lights, and the [Viper] AirFX for my beams. They make a great wash fixture, but I use these fixtures in different scenarios in each song. I have some [Clay Paky] Mythos I use for the accent beams and effects more than on the band. I’ve also grown fond of the B-Eyes from Clay Paky. They add another layer to the design that is refreshing. I’m also using some Robe BMFLs. Upstaging made us some great truss spots out of those fixtures.
Are there any set rules you work by on this show?
The way that the set is laid out, I have a lot of territory I need to cover. Rene Lagler designed the riser configuration we got from Tait, and it keeps the musicians separated from Neil, which is necessary to keep Neil from being contaminated by their colored lights. I try and keep Neil in his own cocoon of light at all times, whether it’s with the truss spots or textured beams of the moving lights. I have no set purposes for any lights prior to programming. I just start each song fresh when I program and see what happens.
Who were your programmers?
Seth and I had a week of previz on a portable ESP studio that the lighting company arranged. For rehearsals, I had Seth on one grandMA2 and Mike Hall on another. We then combined the two consoles into one for the tour. The Catalyst media servers feed the video from the lighting desk.
You stopped touring with Neil and started a new career. Tell us about that.
In 1997, I decided to take the knowledge I had with lighting and re-contextualize my design business into a studio art practice. I went back to school (at my age) for yet another degree.
Gregg Maltby
Lighting Director
We had a couple questions for the lighting director for the tour, Gregg Maltby. Long time LD for Huey Lewis, Boston, and others.
PLSN: How long have you been directing Neil’s lighting on tour and how did this job come about?
I just started working with the Neil Diamond tour this year. I was doing a Huey Lewis show, and Seth Rapaport, Neil Diamond’s programmer, called me saying they were looking for an LD [lighting director]. I thought about it for two seconds, and said “Yes.”
Have you and Marilyn worked together before on other projects?
The first time I met Marilyn was in the 80’s. I was working for Morpheus Lights and was assigned to do a Neil Diamond TV special for CBS at the Aquarius Theater [in Hollywood, CA]. Then I did a show for Japan called George Lucas Live that she designed. Marilyn is a master at what she does, and knows Neil’s show better than anyone.
What console are you using out here, and is it your console of choice these days?
I’m directing the show on a grandMA2. I have been using the grandMA1 on tours with Boston, so the gMA2 is a big improvement. I love the console — nothing but great things to say about it.
Does the song list vary very much per show?
The set list pretty much stays the same, but we do rotate two or three songs per night. It’s all a well-scripted light show where I never have to punt a song.
Any final comments about working with this organization?
Working with Neil is the best. He is a living legend, not to mention a really nice guy. I really love doing this show every night. I work with the best lighting crew, and working with Marilyn is always a pleasure. Being a fan of Neil’s music and this show makes my job easy.
Michael “Mikie” Weiss
Production/Tour Manager
Mikie Weiss has been a staple with the Diamond camp since 1980, when he was first hired as the lighting crew chief.
So you are wearing the Tour Manager and Production Manager hats out here I see.
It’s nothing, been doing it for years now. We all travel on the same private jet these days with no busses. We never do two shows in a row, so it’s easy.
I see you are carrying nine trucks of gear on this go-round.
It’s not much these days. I try and cut a truck out every time we go out on tour now.
It’s a known fact that nobody ever complains about being on a Diamond tour. That still hold true?
Every year the new guys bitch for a while until they get it. We play every other day, so nobody is tired for a load-in. Then they realize that every other day they can sleep in until 11 a.m., and our plane leaves at 2 p.m. You shower in your room and sleep comfortably every night. Everyone asks to come back.
So are there a lot of familiar faces out here?
Yes sir. Richie Bray has been our stage manager for over 20 years. Our video director, Matt Howe, has been with us since he was a cameraman years ago. Seems like nobody leaves this tour until they retire.
Is Upstaging your choice for this tour?
We have used a few different companies over the years. These folks do a great job with lights and trucking. The fact that they have Daric Bassan, their shop leader, prep and start our tours is a huge plus.
What’s the upcoming schedule look like?
We are wrapping up the U.S. leg soon, then head directly to Europe. In the fall we head to Australia/New Zealand to wrap it up.
For more Neil Diamond 2015 tour photos by Steve Jennings, go to:
http://www.prolightingspace.com/photo/albums/neil-diamond-2015-gallery-by-steve-jennings
