volume 2 issue 12 2009 - Mobile Production Pro

pictured on opposite page - MEC (Catering Crew): Top: David Rell, Brent Beimfohr, Tim Lawler, Diane Gonzales, AngeloFrancavilla, Eric Gratton, Mark Gratton, Bottom: Henry Miller, Emily Diller, Matt Mosley | Production:Andy Omilianowski, Jeff Boguski, Billy Flynn (floor), David Comeau, John Warren, Candice Simmons, CarlAcampora, Paul Serio | Chaos Crew: Tyler Munson, Steve Burkholder, Dave Sheppard, Dustin King, WayneMatlock, Joe Finn | Laser Crew: Brian vanTrigt, Wally Gazda | SGPS: Top Left: James Ford, Bottom Left: KyleWolfson, Top Right: Jeremiah Anderson, Back Right: Tony Micheals, Middle Right: John Kehoe, Bottom Right: JeremySorensen | Audio Crew: Back-left to right: Ricardo Avila, Mike Connors, Scott Fraser, Jay Muth, Front-left to right:Kurdt Vanderhoof, Chris Hoffmann | Syncro Crew: Robbie Sheene, TJ Benton | Riggers: Tim Finncannon,Mark Ward, Russel Keith | Lighting Crew: Trevitt Cromwell, Marty Langley, John Lunio (computer image),Justin Dowbiggin, Dan Cassar, Mark Donahue, TJ Benton, Robbie Sheene, Daniel Brooker, Alan Gregg, MattTucker, Jason Bowman (on road case), Brad Wagg (floor) | Carpenter Crew: Top: Russel Voyta, Scott Wienclaw,Jason Hahn, Bottom: Bob Madison, Bill Watkins | Backline Techs: Eric Gormley, Ron Hise, Ed Halverson |Pyro Crew: Noam Sigal, Gregg Pearson, Hans Lundberg, Adam Cryderman, Keith Maxwell, Clint RanseWest PerformersMusical Director: Al PitrelliKeys: Jane ManginiString Master: Roddy ChongBass Guitar: Chris AltenhoffGuitar: Angus ClarkKeys: Derek WielandDrums: John OReillyNarrator: Tony GaynorSingers: Tommy Farese, Bart Shatto, KristinGorman, April Berry, Katie Hicks, Andrew Ross,Erin Henry, Abby Lynn Mulay, Jeff Scott SotoStrings Musician Caitlin MoeWest CrewTour Mgr: David ComeauProduction Mgr: Jeff BoguskiProd. Co-ord.: Carl AcamporaRoad Mgr: John WarrenAsst. Road Mgr: Candice SimmonsStage Mgr: Andy OmilianowskiProd. Asst: Paul SerioDrum Tech: Ron HiseGuitar Tech: Ed Halverson, Eric GormleyFOH Eng.: Kurdt VanderhoofLighting Director: Dan CassarRiggers: Mark Ward, Russel Keith, Tim FincannonCarpenters: Russel Voyta, Bill Watkins, ScottWienclaw, Jason Hahn, Bob MadisonSGPS Grid/Crew Chief: John KehoeSGPS Grid Tech: PRGM Kyle Wolfson, AnthonyMichael, Jerimiah Anderson, Jeremy Sorenson, JamesFordEpic Lighting/Crew: John Lunio, Matt Tucker,Alan Gregg, Jason Bowman, L Mark Donahue, TrevittCromwell, Daniel Brooker, Marty Langley, JustinDowbiggin, Brad WaggSyncrolite Crew: TJ Benton, Robbie SheeneChaos Video Crew: Joe Finn, Dave Sheppard, DustinKing, Steve Burkholder, Tyler Munson, Wayne MatlockClair FOH Eng/Crew Chief: Mike ConnorsClair Monitor Eng.: Chris HoffmannClair Sound Crew: Scott Fraser, Ricardo Avila, JayMuthLaser/Crew Chief: Brian Van TrigtLaser Tech: Wally Stan GazdaEFX Tech: Adam CrydermanPyro Shooter/Crew Chief: Keith MaxwellPyro Tech: Clint Ranse, Hans Lundberg, Noam Sigal,Gregg PearsonMerchandise: Billy FlynnBus Drivers: Dave Harrison, Jeff Hay, James RedMurphy, John Morgan, Jimmy HolmesTruck Drivers: Joe Lephew, Paul Fyffe, WilliamFerguson, John Pyle, Wally Brown, Joe Frank, JohnnyWinn, James Fyffe, Tom Sims, Jeffrey Thomas, JamieOuten, Dave Faulkner, Reginald Haynes, RaymondWaterman, Troy Baumgartner, Troy Metts, TheodorePaiva, Glenn HoffmanCatering: Mark Gratton, David Rell CEC, MattMoseley, Henry Miller, Brent Beimfohr, AngeloFrancavilla, Tim Lawler, Erik Gratton, Emily Diller,Diane GonzalesCatering Bus Driver: Roger Burrisvendor, Epic Entertainment Technologies.The primary challenge of this production ishow to get 17 trucks into the venue in timefor a matinee performance, something thatoccurred on a fairly regular basis throughoutthe run. Whereas logistical efficiencyis a standard mantra on all productions, itbecomes a religion on this tour. The resultwas an ingenious integration of form andfunction. The vast majority of truss used inthe rig were WinVision video panels as wellas Versa TUBE. Although the end result wasdazzling, the notion of having to uncase hundredsof feet of video panel and Versa TUBEthen mount it to the truss on a daily basis wasbeyond unworkable.Fueled by the reality that what Hartley wantsHartley gets, the geniuses on the tour andin the shops of both Epic and Chaos Videodevised a system through which both lightingand video panels never left the truss with veryfew exceptions. Additionally, the video panelsthat played independently of the lightingrig rode in custom racks similar to set carts.All of this made for a sensational executionof the show from a video perspective, but itwasn’t enough in and of itself for Hartley’stastes. So he backed the stage with a massivewall of Soft LED, which offered an outstandingbackdrop for the show. He then drovethe video as far into the house as possibleby running it through the arena’s LED bannerstrips. This gave the audience a sense ofbeing totally immersed in the production.This year’s lighting system contained a muchhigher concentration of automated lightingthan in years past. While there was a smatteringof ACLs and conventional pars loadedwith LED panels, the bulk of the showconsisted of Vari*Lite 3000 Spots and 3500Washs.While in years past the effort to extend therig out into the house consisted of two enormouspods, this year the look was comprisedof eight small pods hung in two rows of four.These arrays were made up of the truss andcorner sections used in the pods that flewover the stage in previous years. Mr. Hartleyallows nothing to go to waste.Two other elements of the production thathave been mainstays from the beginning arepyro and laser. Pyro, presented by TorontobasedPyrotek, had a spectacular array ofcolored flames, dragons and a great lookinggold gerb waterfall to finish the show amongthe 15 different pyro effects that were used inthis production. However the standout effectfor this writer was the sensational use ofFire Screen which was developed by Pyrotekand put to better use on this tour than everbefore. As the temptation to get wildly verboseabout lasers in this show is pressing, thereality is that it doesn’t take a lot of languageto describe what happened. It was simply biggerand better than ever before.mobile production monthly 15