Bandit Lites supplied the Chris Lisle designed lighting rig for the legendary rock and roll artist Alice Cooper who is still pulling out all the stops as he careens through his set with the absolute precision of an artist who has spent decades honing his craft and theatrical bits, whether it’s an onstage beheading, a straightjacket routine or encounter with Frankenstein’s monster.
In addition to designing the lighting for the tour, Lisle also crafted the set and production design, working with Alice Cooper’s longtime manager Shep Gordon.
“This is one of the best productions Alice Cooper has ever mounted, and anyone who has seen him knows that bar is very high,” said Bandit Lites Vice President Mike Golden.
“The production team, headed by Manager Shep Gordon, Designer Chris Lisle, Tour Manager David Dividian and Production Manager Cesare Sabatini were incredibly focused on every aspect and the show reflects their dedication.”
“I knew the objective to what we were lighting along with how Shep liked for the show to have a theatrical feel,” explained Lisle. “One big consideration into the overall design was venue size and truck space. With this, I went with a straight-ahead three truss system that was able to scale from forty to fifty feet wide, pending stage size.”
Bandit supplied nearly 120 fixtures including GLP X4, Martin MAC Viper Profiles, Solaris Flares, Chroma Q Color Force 72 fixtures, VL 3500 Spots, 18-inch scoop lights, Elation Color Chorus 12 and Robe Pointes. Two grandMA 2 lite consoles provide control.
Lisle utilized VL 3500 on the front truss, providing keylight to the band along with gobo projection on the scene pieces. GLP X4 are interspersed among all three trusses and around the floor, giving the stage a good wash. Martin MAC Vipers supply backlight and additional gobo looks while Robe Pointes are placed in groups of four for a classic “ACL” look evoking lighting rigs of the 1970s and 1980s. Rather than use a traditional mole fixture along the front truss, Bandit supplied scoop fixtures for some audience washes.
“I appreciate how straight forward it is,” said Lisle of the lighting. “There are just enough fixtures there to not be too overwhelming but to give some solid looks and really paint the theatrics of the show. Bandit prides itself on supplying topnotch gear, excellent crew members and the best on-the-road support to make life on tour as equipped for success as possible. Prior to the tour’s launch Lisle utilized Bandit’s Venue One rehearsal facility to hang the rig in its entirety and make gear adjustments during programming when everything was close and accessible.
“It was an incredible experience to see the show being put together in our programming/rehearsal facility and to watch the efforts and focus of the Alice team as they concerned themselves with all of the special effects and gags built into the show,” added Golden. “From the get-go the Bandit team were great partners on this project,” Lisle said.
“From the prep details to the crew, it was all top notch. A huge thanks to Michael Strickland and Michael Golden for trusting me with their longtime client. The Bandit Project Managers, Don Lockridge and Matt King, were great, and the Bandit techs, Andy French, Sam Morgan and Kaitlyn Feltes are doing a great job keeping the rig going in and out efficiently. Scott Warner is the tour LD and looked after a good bit of the programming. Erik Parker helped with some of the creative and programming as well. Cesare (Alice PM) and the rest of the Alice Cooper touring crew were fantastic! I, of course, thank Shep for the amazing experience of working alongside him to create this show.”