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TPI-July-2019-Spice-Girls-Extract.Pdf PRODUCTION PROFILE Opposite: Art Director, Kate Moross; Set Designer, Jason Sherwood. SPICE GIRLS: SPICE WORLD 2019 Infused with all the trappings of modern technical production and creative ingenuity, the Spice Girls return to bring new meaning to Girl Power, embracing stadium audiences with a message of inclusivity. ‘Cockney Spice’ Mark Cunningham witnesses it unfold at Wembley... Rarely has Wembley Stadium witnessed a display of such unbridled joy wanted it to be a communal, fun experience, taking fans back to a place amongst an audience as it did when the Spice Girls stepped on to the where they had innocence and a joyful connection with the music. stage to “welcome all ages, all races, all gender identities, all countries of “We looked at this not so much as a tour but as a theatrical origin, all sexual orientations, all religions and beliefs, all abilities.” Over entertainment property, analysing what the girls mean to their fans and three sold-out Wembley nights, 221,971 fans worshipped at the altar of how we can bring them to a market that has experienced The Greatest Girl Power, dressed to the nines and as much a part of the show as their Showman, whilst harnessing all of the potential that today’s technology idols. Performing for the first time as a four-piece without Victoria ‘Posh’ can ofer. You need to have passion for something like this because the fan Beckham, the quartet broke Ticketmaster’s UK records when their 13- base exudes an enthusiasm that has to be matched in order to deliver what date Spice World 2019 tour went on sale last November, leading many to they want to see.” speculate about further appearances. In preparation, while Moross curated a generous reference library of Dripping with all the colours of ‘90s nostalgia, the tour was a victory for memorabilia, Lodge conducted a musical audit of the act’s entire concert the vendor collective hired by Production Manager Tony Gittins, featuring history, noting every set list and watching hours upon hours of archived live the work of Brilliant Stages, PRG, PixMob, Wigwam Acoustics, Universal videos. “Spice World 2019 is not about a reunion, it’s not a separate entity, Pixels, Strictly FX, Star Events Group and, at Wembley, Stageco. Fly By Nite, it’s a continuation of the fabric of the band because if you’re a fan, they’ve Beat The Street and Eat Your Hearts Out also played faultless roles. never really been away – this is just the next chapter,” he commented, It all has to begin somewhere and in this case the buck stopped with adding that the show’s opening sequence had to be a killer. “If you can’t Creative Director Lee Lodge who assembled a vibrant creative team who create a brilliant first act for the Spice Girls, you shouldn’t be in the had shared the experience of working on Sam Smith’s The Thrill Of It All tour. business, because all the ingredients are right there in front of you.” Namely Set Designer, Jason Sherwood, Choreographer/Stage Director, Paul The initial concepts that were shared amongst the creatives all hinged Roberts, Lighting Designer, Tim Routledge, and Art Director, Kate Moross. around four houses that representing a diferent Spice Girl. “It resembled a As Routledge observed: “When Lee calls, you know it’s going to be special. developed script for five distinct acts with separate narratives,” explained Recognising great talent is one of his great strengths and he thrives on Lodge. “Act One is ‘The Return of the Four Queens’, Act Two is ‘Girl Power’, taking people like Jason and Costume Designer, Gabriella Slade from the Act Three is ‘The Garden’, Act Four is ‘Girls Night Out’ and, finally, Act Five theatre environment and placing them in the rock ’n’ roll world.” is ‘The Last Waltz’. By using choreographic references, graphic elements and wardrobe, we were able to structure the performance. And as for THE CREATIVE JOURNEY assembling the core values, I can’t think of anyone who would’ve grasped From the outset, the creative ambition was to give the Spice Girls the live the sentiments behind the girls’ brand DNA of the girls quite like Kate.” production they always wanted by designing a show that was rooted in Said Moross: “That master document was available online for all nostalgia while reaching forward as a symbol of inclusivity. Said Lodge: “We the creatives to access and see how the show was developing. It was so 41 SPICE GIRLS important because each of us has informed and inspired each other. There the overall standard was so high, but we had a very firm idea of what we was a huge holistic sense of everyone knowing what everyone else was wanted to build for the four houses and, therefore, could spot the qualities doing, and being extremely communicative.” we were looking for. Sherwood and Moross were both first generation Spice Girls fans. “Each house has its own visual aesthetic and vocabulary of movement “Their impact was life-changing,” the Art Director confided. “They were the that is diferent to anything that’s been done before, with some references first act I understood creatively as well as musically. Each member had a from past tours that filter into the choreography. The enjoyment for me distinct personality while sharing a commonality that spoke to me as a kid. comes from indulging in the music - 10 of which are truly inspirational Naturally, I was excited to bring that all to life.” The girls had the same efect bangers.” on Sherwood in America at the age of eight. “I was sitting in my studio one day when Lee called and said, ‘I’ll tell you what I want… what I really, really PREPARATION want.’ I freaked out! Two weeks afer he asked me to come onboard, I had Production Manager, Tony Gittins was given the go-ahead last October, the design. The first decision that we locked into was the stage shape and around the same time as he rolled out Rick Astley’s Beautiful Life tour. He the Passerelle, the latter being one of my favourite aspects of the show said: “For a show of this size, we were given a very short lead time that was because these iconic women get to perform in the centre of the stadium, made easier by the professionalism of our suppliers.” uniting everybody. Afer several studios at Sarm Music Bank were hired to accommodate “I was also attracted to the image of the iconic, tilted gold ring that separate rehearsals for the Spice Girls, the band and choreography, Gittins appeared on the back of their début album. When the concept of Spice and his team booked a three-week stretch at Cardington Studios for World came up in discussions, we were reminded that the second album’s production rehearsals. “This was probably the only place available that motif was a planet surrounded by a ring and I began to brainstorm how that could have contained this show. It’s an empty hangar so in our first week we might translate to the stage.” had to build what amounted to a complete festival-type infrastructure from Sherwood involved Render Artist, Evan Alexander ahead of Brilliant scratch. Afer the stage was constructed, production went in on the 6 May Stages building the show. “Most of our interaction with Brilliant was done and we were on track.” by emailing photos and design files. It was a way into the project before I Assisted by Holly Sandeman, Gittins led 100 touring crew and an visited them to check on aspects of the build, such as the floor treatment of average of 130 local hands. A 36-truck tour, with transport co-ordinated by the stage and the Globe’s metallic finish, and I was delighted.” Matt Jackson at Fly By Nite and busses from Beat The Street, the frequency Spice World was the first concert project for Costume Designer, of the shows demanded three complete leapfrogging stage systems with Gabriella Slade, a fellow student with Tim Routledge at the Royal Welsh two trucks overlapping on each advance to install the video header and College of Music and Drama. The fruits of her labours amounted to an crescent frame for the front stage. The main production, meanwhile, astonishing 24 costume changes. Simultaneously, Paul Roberts had his amounted to a single system. work cut out when he auditioned contenders for the cast of dancers. “We “With only 13 shows in the schedule, we had to be match fit from show had nearly 6,000 people apply,” he said, adopting a comic weary look. No.1,” Gittins commented. “About halfway through we were loading out in “They were whittled down to 400, then 80, and we finally ended up with four and a half hours and driving to the next gig, arriving for an 8am load-in the 20 dancers with whom we toured. The process was dificult because and finishing between 10pm and midnight, ready for the following day’s 42 SPICE GIRLS show, so we certainly had it together.” Universal Pixels to design and make custom light weight frames to which the video panels were mounted.” ARCHITECTURE A full ‘ground up’ system, the downstage crescent incorporated a sub Brilliant Stages kept itself busy this spring with a raf of jobs connected with level/structure as well as the top decks and scenic finish. In the centre, Spice World. As well as building the 13m diameter Globe, the Wakefield firm Brilliant used Serapid scissor lifs to form a customisable lif that could delivered the 19m diameter, 3m tall flown LED Ring; a 6m diameter, 1.2m operate individually or as one large lif, controlled by the company’s own high Globe base with tiered steps and integral LED lighting; the 30m by 11m automation system.
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