Lighting Co
PRG
Venue
Park Theater,
Las Vegas NV
Crew
Lighting Design: Fireplay/Steve Dixon, Producer; Amy Tinkham, Show Director; Jamie Lew, Art Director; Josh Zangen, Production Design; Kelly Sticksel, SFX Designer
LD’s/Programmers: Nick Whitehouse, Steven Douglas, Cosmo Wilson
Lighting Crew: Tom Bider (Crew Chief), Steve “Scooba” Sligar, Jen Kerbs, Cecil Nelson, Andrew Meyer, Graham Hill
Video Director: Colleen Wittenberg
Video Content: Pixomondo
Video Techs: Django Cardenas, Bradley Hall, Christopher Small, Dino Stokes
Tour Manager: Max Bischman
Production Manager: Dennis Gardener
Production Assistant: Jennifer Armstrong
Stage Manager: Stoney Stonecipher
Staging Co: SGPS
Automation: Jordan Partier
SFX/Lasers, CO2, Low Fog: Pyrotecnico
Laser Tech: Zack Lawson
Gear
2 grandMA2 consoles (1 for backup)
104 Claypaky Mythos
48 Claypaky Sharpy Wash
60 Vari-Lite VL3500 Wash FX
40 Vari-Lite VL3500 Spots
50 Martin MAC Viper Air FX
40 TMB Solaris Flares
28 Chauvet Strike 4 fixtures
10 Robe Spikies
6 PRG Best Boy Spot HP’s
1 ARRI Ruby 7
1 Par 64 can w/NSP
3 MDG The ONE Hazers
1 Follow-Me system
Designer Insights from Steve Jennings:
PLSN caught a few songs from Aerosmith’s “Deuces Are Wild” Las Vegas residency where the band is rocking out to sold-out crowds at the Park Theater. The shows’ lighting director, Cosmo Wilson, tells us that this was a bit of a different experience for him, as he’s usually designing everything himself. For this show, Fireplay served as the creative team for show design and production.
“They wanted my input on some design factors, but mainly my show operation. We programmed together and would take turns writing cues, then I would run it and we’d make any necessary changes. When we finished, the band felt it needed to be more dynamic, and that’s the way I run my shows, so we went through the cue structure and we made it so I had more hits and bumps for the accents… then we were off to the races!”
Timecode was discussed a lot in the beginning, but it was realized that this is not a timecode band! They went back and forth for a while, and settled on minimal timecode. “Even then, the timecode was programmed to come on and off during the songs in order to allow the band to ‘jam,’ and at the end of the day, only a few songs are actually on timecode, and of those, I have accents that I use to bump over the timecode cues,” Cosmo notes. “The one song that uses a lot of timecode is ‘Elevator,’ mainly because of the laser cues.”
More Aerosmith “Deuces are Wild” Las Vegas residency photos by Steve Jennings:
