USA – Not depending on language or culture, not even necessarily needing music, dance occupies a unique place of its own. It is an act so natural that it instantly touches everyone’s soul. “Dance and the whole world dances with you,” the ancient aphorism goes. The legendary designer Peter Morse is tapping into this ethereal quality this summer on Derek Hough’s 40-city Symphony of Dance: Encore tour, which concludes August 16 at the Fontainebleau’s BleauLive Theater.
Although Morse and his colleagues Benny Kirkham (programming-PreVis), Felix Peralta (programming), and Brandon Wade (LD) devoted countless weeks, days and hours to the show, the end result looks almost effortless, as the lighting flows naturally with the graceful movements of Hough and his eight backup dancers. Such is the power of dance… and the talent of this dedicated production team.
Hough’s 110-minute show features an incredibly wide range of dances from fast-paced rock-soul numbers, to traditional ballroom, to classic rock dances like “Twist and Shout,” to sentimental moments, such as when the multiple prime-time Emmy winner pays tribute to his idol Gene Kelly by dancing to “Singing In The Rain.”
Wherever the choreography went in this show, the lighting followed with chase sequences and strobing that matched highest energy peaks and subtle washes for the more sentimental and emotional moments.
“The major difference in lighting a dance show, such as this one, compared to a concert is that the talent and choreography speak for themselves,” said Morse. “All that really needs to be done by the lighting is to properly illuminate and support the dancers and their performance. On the other hand, in a concert much of the lighting — while hoping to support the music — is intended to reflect the actual musicality of what’s being played and whoever is featured during specific moments.”
Helping Morse flow with the show’s powerful choreography is a collection of 12 COLORado PXL Curve 12 motorized battens, which like the rest of the rig, were supplied by Christie Lites. Arranged at the edge of upstage risers, the pixel mappable RGBW fixtures are filling a variety of roles in the lighting design.
“Primarily they create brilliant ‘walls’ of light — either overhead or pointed down to the floor,” Morse said of the PXL fixtures. “Additionally, their articulation comes in handy for accenting more frenetic moments in the music and dance.”
Projecting light in multiple directions the PXL units add depth to the stage and help define its geometry. The brightness and color of the next-Gen battens also pumps up looks throughout the show, creating a sense of motion, energy, and imagination that is right at home on the dancefloor.
