Installations

What if – just if – a lighting designer who has done plenty of club installs actually became a lounge proprietor himself?

Crazy? Crazy enough to work.

Elvis is definitely in the building, and it's a building literally built for a king.

Cirque du Soleil, in partnership with Elvis Presley Enterprises and MGM/Mirage, has Viva ELVIS happening at the new Aria Resort & Casino at CityCenter in Las Vegas, the world''s largest hotel to achieve a Leadership in Energy and Environment Design (LEED) Gold rating from the U.S. Green Building Council. Those expecting a "traditional" Cirque show (if such an animal even exists), or one that mimics their last smash hit, the Beatles-themed LOVE, went home dazzled by the unexpected.

When Celine Dion completed A New Day, her five-year stint at the Colosseum at Caesars Palace in Las Vegas, she left behind the 4,000+ capacity venue that was specially built for her, along with its 22,450 square foot stage, its 120 feet wide by 44 feet high proscenium, 1160 conventional luminaires, 140 automated lights, four 10K ANSI lumens projectors, and enough work to keep a good sized tech crew hopping. In her wake came Bette Midler, who was given the showroom with all the sound and lights for The Showgirl Must Go On. All she needed was a little scenery and some props and she had an instant show. Or so it seemed.

LD Greg Russell walked into the newly-named Oak Ridge Boys Theatre in Branson, Mo. last year with the words of the owners ringing in his ears. “They wanted to have the biggest, baddest lighting system that we could get,” he recalls. “They weren’t going to spare any expense to get it done.”

While that was good news for Russell, he also had good news for them after a quick look around the venue formerly known as the Glen Campbell Theatre. He discovered that much of the lighting and rigging gear that was installed in 1994 was useable, including almost 500 channels of ETC Sensor dimming.

An American Movie Palace Gets a Lighting Makeover

The Michigan Theater in Ann Arbor is one America’s original movie palaces. Built in 1928 during the silent movie era, the theatre also hosted vaudeville stage shows — it is still home to a 1927 Barton Theater Pipe Organ — before giving way to talkies and live musical performances.

There’s a new player on the Las Vegas Strip: The Palazzo — “palace” in Italian — is a AAA five-diamond luxury hotel and casino resort offering the height of sophistication and elegance. But the $1.9 billion Palazzo is also the largest LEED-certified building in the world, having been awarded Silver LEED (Leadership in Energy and Environmental Design) status by the U.S. Green Building Council in recognition of the property’s commitment to “green” technology and construction across categories of sustainable sites, water efficiency, indoor environmental quality, materials and resources, and energy and atmosphere.

One of the biggest issues facing Asbury United Methodist Church a few years back was parking space. The fast growing church was severely challenged for places to put all of the cars carrying new worshipers. When Senior Pastor Dr. Tom Harrison heard that the ice rink adjacent to the church had become available, he didn’t give it much thought. Then, one day, he drove through the parking lot and started counting parking spaces. He counted 220 of them.

Shakespeare & Company was running out of space. The theatre company, founded in 1978 with a mission of combining the strengths of classical British and American acting, first secured residency in the turn-of-the-century estate that was home to writer Edith Wharton, then in 2000 expanded to 30 acres with multiple buildings one mile away in Lenox, Mass.

Within the last two decades, Las Vegas has seen a cycle of high-stakes one-upsmanship among the casinos lining the Strip, with aging casinos imploding to make way for full-service resorts that have become world-class destinations for gambling, fine dining and relaxing in the sun. The competition to fill the seats of the vast casino showrooms is no less intense.

All load-ins are a testament to the beauty of cooperation and madness. This gets amplified when you’re putting up the set as they’re finishing the theatre.

“They’re kind of building around us,” says Jim Fedigan, production electrician for the install of Jersey Boys in the Jersey Boys Theatre at the Palazzo Las Vegas — Resort, Hotel, Casino. We’re standing on the lip of the stage looking at lights that have been hung onto truss, and then wrapped in plastic bags to protect them from construction dust, which is everywhere. Fedigan started the load-in in a theatre that was far from complete.

The First Baptist Church of Marco Island, Florida, had a problem: They’d outgrown both the size and technology of their 30-year-old facility. But on a small, conservative island populated mainly by senior adults, how could the church keep to its core while also reaching out to a younger, hipper generation — at home and around the world?

“We live on an island with a lot of older people on it,” says Senior Pastor Tim Neptune. “We couldn’t ostracize them by going with this extremely new contemporary facility, but media, lighting and technical elements are crucial to delivering our message.”

Neptune knew his facility needed some serious technology.
 

To the uninitiated, an elevator ride in Austin’s newly-opened Joe R. and Teresa Lozano Long Center for the Performing Arts might give the wrong impression. The green and orange metal skin that lines the interior of the elevator is replete with dents about the size of a ball-peen hammer. It wasn’t the carelessness of the construction workers who left their marks on the elevator walls, but Mother Nature herself.