Acclaimed international Lighting Designer Yaron Abulafia was an integral part of the creative team who have helped deliver ‘Morning Blossoms’, a ‘Brave New Musical’ produced by ODD Continent and a performance about communities separated by natural disasters. He chose an all Robe lighting rig to help sculpt the drama.
Luminaires included DL7S Profiles, DL7F Washes, DL4S Profiles, BMFL Blades and BMFL Wash XFs, Robe Strobes and Spikies, all pushed to their limits during programming to unfold a story inspired by sensitive and difficult subject matter in an appropriate and uplifting way. Yaron said, “Using these luminaires really allowed me to sculpt the light (in the hazy space) exactly as I needed to achieve very complex and intricate cues, often combining six or seven different parameters to be programmed independently.”
Yaron had been wanting to use Robe’s refined DL7 LED range in a production for some time, and this was a perfect opportunity to specify these designed-for-theatre fixtures as the leading ‘base elements’. 33 DL7S Profiles, 17 DL7F Washes and eight DL4S profiles were distributed on overhead LX bars and on side booms. The DL7S’s were arranged in four rows on the over-stage bars and used extensively for multi-tasking – from projecting colourful patterns onto the stage for the classroom, playground and picnic scenes for the first half, filled with playfulness and joy; for the destruction and chaos of the waves during the tsunami to the raw, visceral surreality, strangeness and sinister calm of the aftermath. As music dropped away to dialogue throughout, quiet lighting without cooling system noise was essential – and the DL series was “perfect”.
“The DL7s are amazing performers,” continued Yaron, “The optics are incredible and the shutters are really precise and reliable thanks to the 16-bit control which enabled us to light tiny objects on the stage in really close proximity without a single lumen of spillage”. He added that the colours – the whole range – from the purest saturates to all those challenging pastel hues – browns, ambers and lavenders, etc., where so many LED products struggle are impressive with the DL7.
Many of the cues combined simultaneous five or six different effects. For the earthquake the DLs are shifted using several different options – random intensity, rotation, shutter cuts, blade movements – all in different combinations, running at different speeds and producing the disorientating perspective illusions of fear and uncertainty.
While the DL7s worked hard creating base lighting and specials, the BMFLs – of which he had 13 BMFL Blades and four BMFL Wash XFs – were also real workhorses. Four of the blades were rigged over-stage on drop arms to give them a clear path to project custom tree-branch gobos – some with cherry blossoms – onto a front gauze for the walk-in and interval.
Using just five BMFL Blades on an advance truss in front of the stage – the fixtures are so light that this was a run of mini-beam truss – enabled Yaron to replace two whole bridges worth of what would normally be around 40 conventional sources provided by the venue. So apart from being hugely quicker on get-ins and massively reducing the focusing time -he was in control and had the front light he wanted with the scope for a huge amount more than would have been possible using house conventionals.
These front BMFLs do lots of shutter work, dimmer effects and colour changing – and with a throw distance of 22m to the back of the stage at the Spiegel Theatre, they were plenty bright enough. The BMFL Wash XFs were positioned in the upstage corners and used for specials and also to wash the whole stage area. Towards the end of the performance 12 overhead DL7F Washes are used to create an incredibly small dot of intense primary red light on centre stage while 15 DL7S Profiles project a smoky texture via subtle application of the animation wheel – the little red dot slowly broadens to become a large red 7m wide ring consisting of 12 thin rectangles (created by using the scrim effect), and softened by the frost filter.
The eight DL4S Profiles were in the low ‘shin-buster’ positions on the floor in between the set legs, for providing focussed cross light which could be fine-tuned and shaped by adjusting the shutters and positions. Above these on the same booms were eight of the DL7S profiles at head height – ideal for catching the upstage wall of hanging origami which is flown in and moved on three separate fly bars. 15 Robe Strobes – the white version – are used to create the tsunami moment.