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Home , Dreamgirls, Henry Krieger, The Song (Smash), Tom Eyen

Copyright Lighting &Sound America March 2010 http://www.lightingandsoundamerica.com/LSA.html www.lightingandsoundamerica.com March 2010

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Dreamgirls Modern technology for a classic musical

Business: Straight talk with Martin’s Christian Engsted

ALSO: Lincoln Center’s David H. Koch Theatre

Philips Vari*Lite VLX

RSC Lightlock

NAMM Report THEATRE Copyright Lighting &Sound America March 2010 http://www.lightingandsoundamerica.com/LSA.html

Dreamgirls is reinvented for the road in a sizzling, innovative new production

By: David Barbour

50 • March 2010 • Lighting &Sound America ow do you improve on instead, it packs every bit of the to backup, then cut out of the act Dreamgirls ? It’s a daunting task, original’s sizzle while taking altogether. Lorrell becomes trapped in as the original production of advantage of today’s technological a dead-relationship with the married and ’s advancements. (The New York Jimmy. Deena, now a major star, 1981 hit still burns brightly in the engagement was especially exciting, marries Curtis, but their relationship memories of fans— as Dreamgirls begins and ends at the devolves into a power struggler over and for good reason: Michael Apollo; when, in the final scene, one the direction of her career. Dreamgirls Bennett’s nonstop staging of a of the characters notes, “Here we traces all of these characters’ complex, epic story was facilitated by are—right where it all began,” it was changing fortunes as black music ’s brilliantly flexible impossible not to get goose bumps.) enters the American mainstream. scenic design and ’s Combining Bennett’s vocabulary with Providing a touchstone with the daring lighting, and Theoni V. modern stage gear and adding his original production is Robin Wagner, Aldredge’s fabulous, instantaneous own distinctive sensibility, whose brilliant scenic concept was the costume changes. Frank Rich, then Longbottom has reinvented the show key to Bennett’s original vision. Here, ’ theatre critic, for the 21st century. Wagner has come up with an entirely called it “a show that strikes with the And why not? In this era of insta- new approach that retains what was speed and heat of lightning”—and he celebrities and reality television, the exciting about his 1981 design while wasn’t exaggerating. time is especially ripe for a tale of adding the innovation of video projec - Few theatre productions in the last young hopefuls swallowed up by the tions by the media designer, Howard 25+ years have yielded so many leviathan of fame. Equally pertinent is Werner, of the firm Lightswitch. Also stunning moments: the opening view the show’s examination of how soul on board are the lighting designer Ken of backstage pandemonium at a music was repackaged for a larger Billington and the sound design team talent show, the towering (read: white) audience, thus providing of Acme Sound Partners. All have tableau of record-industry hacks black entertainers with a shot at collaborated on an unusually striking payola deals, the wall of mainstream success. The theme, then integrated design, which was lighting units in the number “One Night and now, is the same: Show business developed under an unusual set of Only,” and, most of all, the Act I coup is the gateway to the American circumstances—beginning with a de théâtre , in which the heroine, Dream—if you’re willing to pay the tryout in Seoul, Korea. deprived of her career and her lover, price of entry. launches into the furious, wounding Dreamgirls is the story of the One more picture please torch song, “And I Am Telling You I’m Dreams—Effie, Deena, and Lorrelle— again, thanks to Wagner, Not Going,” only to be cruelly cut off young women from who hope Dreamgirls provides spectacle by the falling curtain. to make it big as a . It is seemingly without scenery. In his The result of an intensive series of 1962, the era of , the conception—aided by the expert workshops, Dreamgirls came with a Ronettes, and the Shangri-Las. At a contribution of Werner—it consists seamless original production that talent show in Harlem, they hook up of a rush of images seen in multiple perfectly fit its restless, rangy narrative. with Curtis, a Cadillac salesman configurations. Skylines, highways, In Bennett’s hands, a story tracking turned promoter, who gets them a gig and theatre marquees whoosh by as eight characters across 12 years and singing backup for James Thunder the Dreams make their way to the dozens of locations unfolded with Early, a -style R&B star. top. When the girls are performing, cinematic ease. So influential were the Curtis has dreams of selling “race” the stage pulsates with colors and director’s ideas that even the 2006 music to mainstream audiences, and patterns that explode like a series movie version alludes to them in more he sees the Dreams as the vehicle to of novas. The design is more than than one scene. All of which has left do it. (He even takes Effie, the Dreams’ flash and glitter, however; it the question hanging for years: Is it assertive, ferociously gifted, lead provides a technologically gilded possible to stage an entirely new singer, as his lover.) Before long, cage that seduces and traps Effie, version of Dreamgirls ? thanks in part to some well-placed Deena, and Lorrell. The answer has arrived in Robert bribes, the Dreams are climbing the Bennett’s staging of Dreamgirls Longbottom’s new production, which pop charts with a radio-ready version would not have been possible without s u launched a national tour at the Apollo of . Trouble brews, however, Wagner’s scenic design, in which a c r a

Theatre in New York. The when Effie, who is deemed too black series of towers—loaded with lighting M n a o director/choreographer has provided and insufficiently glamorous for units—and a bridge remained in nearly J : o t o a Dreamgirls that is no tired imitation; television audiences, is first relegated constant motion. But, as the designer h P

www.lightingandsoundamerica.com • March 2010 • 51 THEATRE

Billington creates his own version of Tharon Musser’s wall of lights for “One Night Only.”

says, that design “was based on configurations. At times, they function Studio, “Each of the five video walls technology from 1981. You can’t even as an upstage wall—with one center is attached to a mechanism that get it, it’s so obsolete.” As a result, he panel flying up to allow for entrances. allows them to rotate. That piece of says, “We decided not to recreate it, The screens can be staggered, form a machinery is attached to a piece that but to do something of our age. And curve, or make a kind of long S shape allows upstage-downstage travel. All Bobby was all for that. that reshapes the stage. They can also of this is attached to an element that “The original concept was to show pivot open. Except for one or two lifts and lowers the panels.” As a how these girls are trapped in the minor pieces of furniture, they result, he notes, when the panels are technology of show business,” constitute the entire scenic design. in full motion, “There are often as Wagner continues. “They’re controlled Wagner worked out the movement many as 15 axes working at the by it. That idea hasn’t changed. The of the panels in an old-fashioned 3-D same time.” question was, how do we make it for set model, to show Longbottom what Control of the scenery is via the now?” As he notes, “The only really was possible and, he says, “to see ’s HMC systems (for Hudson new thing that has come along since how simple we could make it and still Motion Control). Adomanis says the then is the LED screen.” He and give it the technological complexity of automation operator also controls a Longbottom accompanied Werner to show business.” He used this method dozen more scenic effects, including XL Video’s demo room in lower to demonstrate his concept to the deck tracks for various pieces of Manhattan to see what might be team at Hudson Scenic Studio, where scenery, roll drops that occasionally done with video technology. The the set was built. (I. Weiss also mask the onstage musicians, and the director quickly signed on to the idea. provided softgoods to the production.) two big light walls seen in “One Night The design for Dreamgirls consists Working with Hudson, he says, “It was Only” [to be discussed later]. One of of five double-wide panels of LED never a question of ‘Can we do this?’ the project’s big challenges, he adds, screens, hung from a track. Thanks You say to them, ‘This is what I want,’ is “because all of the machinery the automation system, provided by and they’ll find a way to make it work.” moves around, we had to have a huge Hudson Scenic Studio, they are According to Chuck Adomanis, cable-management effort; this is capable of multiple movements and senior engineer at Hudson Scenic especially complicated, because the

52 • March 2010 • Lighting &Sound America cables also handle the power and data went with a previously unknown about a surface that could move and for the video panels. We put a huge screen from the Korean company form different configurations. The D3 amount of design and engineering Vissem Electronics, which was was the godsend that I needed. time in getting all of the interconnec - retained when the production moved “With the D3, we could model the tions for the cables to be put together to the U.S. “The image feels cleaner,” set and figure out the scenic changes, quickly and easily.” Werner says. “Also, the processing is and we were able to add the music As mentioned previously, the very different. There’s a single from the show into the model,” Werner production had an unusual devel - processing unit on each of the five says. “We could figure out how long it opment process. The lead producer, panels; we send a fiber-optic signal to would take to get the panels from John Breglio, partnered with Shin it, and it distributes from there. You Point A to Point B—and if we needed Chun Soo, president of the OD could have done that with the other to change their movement or write Musical Theatre Company in Seoul, product, but it would have required a more music. As we built our story - which bankrolled the Korean show. lot of R&D and testing.” Vissem’s boards, we fed imagery into the Because so much work was accom - Transparent Mobile Unit is designed to model. These rough images helped to plished there, and so much of the be lightweight—each panel is less inform the way the set moved and physical production was transferable than 21lbs—and to provide bright what the images would be. With the to America, Breglio estimated to The images even at viewing angles of 120°. D3, as you visualize your show, you’re New York Times that his costs were Each panel consumes an average of programming it. When we got to the cut in half. Whatever a Korean 300W. The product accepts a number Eisenhower Theatre, with the panels audience may or may not have made input types, including composite, S- built and the automation programmed, of the story’s racial politics, the show, Video, RGB, and DVI. we fed the video signals from the D3— featuring several local stars, was a For his media server, Werner chose and the whole thing fell into place.” hit. the D3, from the British firm United The Eisenhower workshop was in It was, of course, necessary to Visual Artists and supplied by XL October, 2008. At the end of the year, ensure that the scenic concept worked Video. More than a media server, the Jason Lindahl, Werner’s associate, before the company set off for Asia, D3 allows one to build a show using arrived in Seoul to do preliminary work so, once the set was built it was its 3-D visualizer, play the show back with the camera gear. (The production, installed at the Eisenhower Theatre at in demo mode, and deliver imagery to which occasionally makes use of West Point for a technical workshop the video screen. “One of the biggest IMAG imagery from live feeds, focusing on scenic movement and challenges was how to get everyone currently employs three Sony high- video images. “The Eisenhower was a to visualize the show prior to it being definition cameras, supplied by PRG.) helpful experience,” Wagner says. built,” says Werner. “I’ve had some In Seoul, media was controlled by a “David Benken, who is a really great experience using various products, Medialon manager system, which also technical director, showed us how to and have never been totally happy handled the live-camera feeds. For the make it fit into a very small space.” with their ability to visualize LED or U.S. tour, Werner says, “The D3 The salient quality of the screens is video surfaces—and here we’re talking triggers presets in the cameras— their lightness and transparency; as a result, the images that appear on them have the quality of apparitions. “They had the idea for the screens, but they didn’t know which screen to use,” says Howard Werner. “We looked at different resolutions, weights, and transparencies. They wanted to see through the screen, but, of course, there is a tradeoff between resolution and transparency. One big question was how low a

resolution would be acceptable. s u c r

“Originally,” Werner adds, “We had a M n specified another screen, which was a o J : the best available product at the time.” s o t o h

In the end, however, the design team P An abstract video look for “Steppin’ to the Bad Side;” later in the number, the screens will be used to seemingly double the size of the chorus.

www.lightingandsoundamerica.com • March 2010 • 53 THEATRE

including zoom, focus, and iris silhouettes—and, instantly, the was drawn by animators, some of it settings—via serial commands. The population on stage has doubled and what shot by Werner and his crew, and [grandMA] lighting console triggers the a statement made about widespread some was pulled from stock video D3 via MIDI show control. A few corruption in the music industry. The footage. “We storyboarded the entire sequences are linked by a click track. number climaxes with an overhead show before we started clicking any In those cases, the conductor starts view of the chorus in a circle, like one mouse,” he says. “We made animated the click track, which starts a SMPTE would see in a Busby Berkeley storyboards, broke them down into clock; it triggers the lighting desk, musical of the 1930s. (This is the only musical beats, and put the images to which, in turn, triggers the video.” pre-taped sequence in the show.) the music.” Werner and Wagner worked out Later, when the Dreams are taking Wagner notes that the imagery is what images would and wouldn’t work part in a fashion shoot, we see them used creatively throughout. “We didn’t on the Vissem screens. Before any on stage and, larger than life, on the want to use the screens as a location images were generated, over 100 screens. Perhaps the most pointed device. Once or twice we use it that plates of storyboards were drawn by use of video comes in the number way, but really it opens up avenues to Lightswitch and discussed. Partly “Heavy Heavy.” Effie has been doing a different kind of scenery. You because of the screen’s low resolution, relegated to backup singer and is can use it emotionally, to reveal things and partly because of the artful way it none too happy about it; the Dreams that aren’t being said onstage.” is handled, the video never are rehearsing a number in a TV overwhelms the on-stage action. Often, studio, and, on the screens, we see One night only Werner fills out the stage pictures with what the TV cameras are capturing— Ken Billington came into the project blocks of color or abstract patterns, a series of close-ups of Deena. It’s a relatively late, after the set design was which add visual interest without mordant commentary on the way Effie in place and much of the media had drawing one’s attention away from the is being done out of her career. been created. His initial task, for a performers. “Robin and Bobby had The video also plays a key role in show that relies heavily on lighting, several strong ideas,” he notes. “For certain sleight-of-hand staging was determining how many units, and example, in the backstage scenes, the moments. “At the top of the second what kind, could be fit into the existing panels are turned backwards, with act, the girls do a press conference,” layout. He notes that the run-through nothing on the screens. But we felt that says Werner. “Then they go over to at the Eisenhower Theatre, which was those scenes needed a little more stage right; they’re standing behind done without lighting, was, never - visual energy, so, at the Apollo, we the crowd, and, when they come out, theless, helpful to him. “It was a good turned three of the five panels around there’s been a magical costume starting point for getting the timings and put a diagonal slash of blue across change. While it’s happening, the we needed, even if they weren’t them, to add a little texture.” screen pans from a shot of Paris to a exact,” he notes. Other images add to the spectacle. flashing concert-stage look; we’re The automated portion of the In the number “Steppin’ to the Bad diverting your eye away from the lighting rig largely consists of twenty- Side,” chorus members appear in costume change. Every night, that four 5' x 4' pods installed over the suits, carrying briefcases and wads of moment gets applause.” stage, which contain 31 Philips Vari*Lite cash for bribes; the panels separate The imagery is a mixture of new VL2000 Washes, seven VL1000 AS horizontally and we see a series of and existing content. Some material units, 23 VL3000s, and 16 VL3500s.

54 • March 2010 • Lighting &Sound America The pods, which move, are crucial to This page and opposite: The screens, in various configurations, partner with the lighting the scenic design, as they allow the to create a broad array of looks. panels to fly in and out. They also provide a kind of visual unity, Billington production an edge of dark glamour tions,” he says. “That’s one of the notes: “If you’re sitting in the mezzanine that perfectly suits the narrative. good things about going out of town— or balcony, you can see that the pods Given all of the rig’s moving parts, not seeing your friends or doing your line up with squares on the deck; it’s says Billington, “The biggest problem grocery shopping. It’s really quite like a grid that is mirrored overhead.” is cable management—where does it pleasant in that you go there to work— The other major aspect of the rig is go and what is the distribution?” In and you work. also a set design idea; it consists of order to reach the pods, he says, the “The crew in Korea was first-class,” two wall units, each holding 108 ETC cable is carefully laid out not to he adds. “They were as good as any Source Fours, gelled in a variety of interfere with the movement of the crew I’ve had. The theatre was built for colors. For much of the show, they screens. Power management is an a production of —it had rest just offstage, providing saturated issue, as well. Speaking of the a huge backstage and triple box sidelight color washes; however, they Source Four light walls, he says, “I booms; there were lighting positions make a spectacular appearance in Act put everything on a single dimmer, so and circuits everywhere. You couldn’t II when Effie, now a struggling solo we could matrix it and do dimmer- ask for more. In that part of the world, artist, releases a new single, “One doubling. Because of that, I got it they open when they open, which was Night Only.” Curtis, who wants the down on a 48 rack plus a six-pack.” interesting; they treated the first number for Deena, has the Dreams ETC Sensor dimmers are used; the preview as . They didn’t record it, using it to launch his new lighting units are 750W models. know why we were coming in to sound. We hear competing The rest of the package includes rehearse and do the next day.” versions of the song; Effie’s slow, eight Altman Mini-Tens, four Altman For the U.S. tour’s initial soulful take is followed by the Dreams, 6' striplights, 56 Wybron Coloram engagement at the Apollo, with its lack all glammed up, performing their scrollers, two MDG Atmosphere of space and power, Billington says he version with two big walls of light hazers, eight Jem DMX fans, and made a few changes, which helped to behind them. It’s an exciting theatrical three Lycian 1293 xenon make the production additionally road- moment and a powerful allusion to followspots. In an indication of how ready. “I had some VL5s in the Tharon Musser’s original design, which much the production is built for sidelight, but I made changes there; also featured a wall-of-lights look. touring, Billington says the the sidelight is all conventional now. I Throughout the show, Billington followspots constitute the entire also cut some automated units that I effortlessly carves the cast out of the frontlight package. As mentioned didn’t feel we needed. But, basically, stage, defines them against the video previously, control is provided by an we put the disc in the board, and

screens, and paces the musical action. MA Lighting grandMA console—a when it went to the first focus group, h c t i w s

In the “performance” numbers, the likely choice when the lighting the lights were within 6" of where they t h g i lighting and video operate as a console is asked to trigger the needed to be. Jonathan Rouse [who L f o y seamless whole, creating a super - media server as well. programmed the show in Korea] had s e t r u

charged environment for the Dreams. Billington, for one, was a big fan of left the show so clean that we were o C : s

Indeed, the lighting gives the entire the Korea tryout. “We had no distrac - practically ready to go.” o t o h P

www.lightingandsoundamerica.com • March 2010 • 55 THEATRE

That Motown sound of the shallowness of the Apollo’s his or own mix of 16 inputs,” he adds. Tom Clark, speaking for the team stage—the very small platform For the Apollo, the loudspeaker rig known as Acme Sound Partners precluded the use of acoustic drums— was attached to proscenium boom (which includes Mark Menard, Nevin we went with electronic drums, pipes, as one typically sees in a Steinberg, and Sten Severson), says although, in rehearsals, we decided to Broadway house. (For the road, they the biggest challenge was to create a use a real hi-hat and snare; everything are arranged in 21'-tall towers.) “We tour-worthy system while dealing with else makes no acoustic sound of its weren’t able to hang under-balcony the unusual production calendar. “In own, however. An electronic device speakers—the under-balcony is very Korea,” he says, “we were working generates the sound of the instru - deep but too structurally fragile for with the theatre’s existing sound ments, which is pumped into the attachment of delay speakers—so we system—which was designed for The onstage foldback and the auditorium had to drive the main floor level Lion King —and with the wireless sound system.” cabinets a little harder than usual, to system and console that we Another challenge remains the get it all the way to the back of the requested. The show was mixed by a same wherever the show plays, Clark house,” says Clark. The touring rig, Korean engineer; we couldn’t do much notes: “Because of the show’s he adds, is a combination of Meyer of the homework that can usually be extreme vocal demands, we’ve been Sound CQ-1s and CQ-2s. These self- accomplished in a preparatory striving to keep the levels on stage as powered, phase-corrected units are production. Then we came into the low as we can, so the actors can hear small—making them a good touring Apollo—which was a splendid idea— themselves and feel supported, and choice—and offer high power and and our touring sound system didn’t fit don’t have to compete with the precise pattern control, making them into the room at all. There’s no dead orchestrations.” As a result, he adds, workable for a variety of theatres. space in the proscenium there for “It’s a very different event on the two Upper balcony coverage is provided touring, and no orchestra pit.” sides of the plaster line—it’s much by Meyer MSL-4s, which are defined The Apollo proved challenging in louder in front than it is behind. After by their long-throw capabilities. “The other ways, as well. The orchestra— some tinkering, and feedback from the use of MSLs in a tower is unusual for which, on tour, is placed in the pit— cast, we think we’re in a very good us, because they’re big, heavy, and was moved to the third floor of the place with it.” expensive—but they’re very powerful building next door, another part of the In any event, the orchestra, whether for shooting to the back of the Apollo complex. (In Korea, because in the pit or the building next door, is balconies and they have narrow the space was available, the orchestra hooked up to an Aviom 16-channel coverage, so we’re not splattering the was located upstage, to simulate the personal monitor mixing system, side walls with them.” upcoming Apollo experience.) Also, allowing the bulk of the orchestra to For additional main floor says Clark, “The show features a hear the onstage rhythm section and coverage, two L-Acoustics ARCs line- rhythm section on stage, but, because vice versa. “It allows each player to set source elements are placed in on their sides, forming what Clark calls “a sideways two-box cluster in the lower section of the tower. As a pair, they give you coverage of 60° horizontal and 44° vertical, which is a helpful geometry for boxes that need to cover the near field and also reach to the back of the main floor. We can turn the lower box down a few dBs, so we don’t hurt the folks in the first ten rows and still have plenty of punch in the upper box to get to the back with authority.” He adds that this arrangement replicates Acme’s rig for the tour of the Broadway s u c r

musical . “We were able to a M

re-use the towers without dismantling n a o J :

them—they had already proved that o t o h

they could handle any house.” L- P The entire cast uses DPA 4061 mics with Sennheiser SK 5212 wireless packs.

56 • March 2010 • Lighting &Sound America Acoustics SB118 subwoofers fill out the towers; “It’s a very tight, good- sounding sub for this kind of music,” he adds. “This is the one difference from the Spamalot rig; there, we used Meyer USWs.” On stage, foldback is provided by a mix of Meyer Sound UPM-1Ps and L- Acoustics 108Ps. “They’re used just upstage of the curtain line,” says Clark of the latter, adding that the former are placed just behind the

Source Four light walls, fitting in The screens pivot for this scene, set backstage at the Apollo. visually with those units. The entire cast uses DPA 4061 DiGiCo SD7T, the theatre edition of a adding that the characters “are headworn mics with Sennheiser SK console that has proven to be popular fighting a lot, cutting each other off, 5212 wireless packs. Dreamgirls is a on the concert touring circuit. It’s a and screaming in each other’s faces. period show, but, Clark says, wryly, new choice for the Acme team; they’re Often, they’re singing over powerful “Fortunately, it’s a time frame and also using it another show, the music; all in all, it’s a bit of a roller- culture that didn’t spend a lot of time Broadway-bound musical The Addams coaster. It’s a monster to mix, and tour on hats. The only number with hats is Family . “As a replacement to the D5T, A1 James Wilcox is doing a fantastic ‘Steppin’ to the Bad Side.’ it offers some very interesting job.” Based on the reaction of the Fortuitously for the sound enhancements,” says Clark. “It has all audience at the Apollo, the words are department, it’s also the only number of its backup capability built into the coming through, loud and clear. with pre-recorded vocals, to synch main desk, so you’re not carrying a Other key personnel involved in with the video.” Of course, William couple more boxes of backup the project include David Peterson Ivey Long’s of costumes equipment to get redundancy. It’s a (assistant scenic designer), John comes with plenty of wigs, but, says solid board, a pleasure to work with.” Demous (associate lighting designer), Clark, “As usual, most of the female Effects gear includes T.C. Electronic Ben Travis (assistant lighting performers have their transmitters in M3000 and R4000 reverb units, XTA designer), Daniel Erdberg and Nick their wig-prep shower caps.” He digital signal processors, and Stage Borisjuk (associate sound designers), adds, there is fair amount of “wigog - Research’s SFX system for the sound David Arch (moving light raphy” in terms of shoving mics effects and voiceovers heard in the programmer), Troy Fujimura (LED around as the hairlines change during show. “The SFX system also outputs programmer), Martin Pavloff the show, but adds that “managing time code in addition to a click track,” (production carpenter), Martin Blacker this has been beautifully handled by says Clark, “in order to keep the (head carpenter), Ian Michaud the tour A2, David Romich.” orchestra synched together with the (assistant carpenter), Jeff Zink Two numbers do feature Sennheiser lighting and video” in sequences like (advance rigger), Jon Lawson SKM 5000 wireless mics: When Jimmy “Steppin’ to the Bad Side.” “In Korea, (production electrician), Marc Early, making his debut in a white we thought we were providing time Johnson (head electrician), Justin nightclub, sings “I Want You Baby”— code for the benefit of video. Then we Freeman and Bruce Yager (assistant II, who plays Jimmy learned we could be useful to lighting electricians), Michael Prieto “wanted to croon into the mic,” says as well, so we feed the lighting (production sound), and Ryan Clark—and when the Dreamgirls are console and they feed information to Marquart (head propsman). relaunched with Deena as the lead the video server. The conductor What’s remarkable is that, at a time singer. The designer says that the triggers the starts of the numbers that when many musical revivals are criti - number’s “introductory vocals are very include time code.” cized for offering cut-down produc - h c t i low in the singing range,” making a Clark notes that, as Dreamgirls is tions complete with minimized orches - w s t h g handheld mic preferable. The virtually through-composed, intelligi - trations, the Dreamgirls tour preserves i L f o

orchestra mic lineup includes DPA, bility is of prime importance, especially everything essential about the show, y s e t r

Neumann, and a number of DI boxes in complex dramatic scenes set to while using totally modern technology. u o C :

for the electronic instruments. music. “There are very few words that Nearly 30 years on, it remains one of o t o h

The sound is controlled by the you can stand not to know,” he says, the most innovative shows around. P

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