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					THEATRE




PHOTO BY PAUL KOLNIK




                                           CHARITY’S
                                           Dogged by controversy, calamity, and a near-death



                                           E
                                                      very Broadway season needs        as a vehicle for his wife, Gwen Verdon;
                                                      its soap-opera saga and this      his source material was Nights of
                                                      year Sweet Charity provided a     Cabiria, the 1957 Federico Fellini tragi-
                                           really juicy example. The second revival     comedy about the misadventures of a
                                           of the Neil Simon-Cy Coleman-Dorothy         Roman streetwalker.)
                                           Fields musical to be produced by Barry          The plot thickened as a revised
                                           and Fran Weissler (the last was in           Charity opened in Minneapolis to
                                           1987), the production set tongues wag-       mixed reviews. Changes were imple-
                                           ging as soon as television sitcom            mented and the production moved to
                                           queen Christina Applegate was chosen         Chicago. Then disaster struck:
                                           to star as Charity Hope Valentine, a         Applegate broke her foot on an on-
                                           Manhattan taxi dancer (that’s the 1966       stage lamppost. Understudy Dilys
                                           word for hooker) with a heart of gold.       Croman took over as standby Charlotte
                                              In addition, the production was           D’Amboise was rushed into rehearsals.
                                           staged by Walter Bobbie and choreo-          When a barely prepared D’Amboise
                                           graphed by Wayne Cilento—meaning             opened in Boston to less-than-ecstatic
                                           that, for the first time, Charity would be   notices, the Weisslers closed the show.
                                           seen without its original staging by            Then, in a plot twist out of an old
                                           Bob Fosse (Fosse conceived Charity           Warner Bros. musical, Applegate got



July 2005     •   Lighting&Sound America
SWEET REVENGE
experience, a group of designers create a dramatically different Sweet Charity


Barry Weissler on the phone and refused       Cilento. As we go to press, box office is        The Fandango girls welcome you to their ball-
                                                                                               room in “Big Spender.” Note MacDevitt’s
to hang up until he agreed to reinstate       running above 80% of capacity and is
                                                                                               uplighting, from a trough placed downstage.
the production. Additional funding was        building. Once again, Charity is a survivor.
found and the production moved to New                                                              Two recurring motifs are drawn from
York, with D’Amboise playing the first        Chic and seedy scenery                           noted visual artists. First, the show curtain
week of previews until Applegate’s doc-       Interestingly, this is the first really new      is a series of overlapping color swatches
tor gave her the okay. True to he world,      Broadway Charity—the 1987 revival had            in yellow, orange, and purple, colors that,
she opened in Sweet Charity at the Al         scenery and lighting by Robert Randolph,         says Pask, “are a reference to the work of
Hirschfeld Theatre on May 4.                  who did the original. Randolph’s design          Alexander Girard, a fabric designer of the
   And if that opening wasn’t exactly an      was more stylized, with cartoonish               period.” The second motif is found in a
unalloyed triumph, there was plenty of        scenery and a zipper sign announcing             series of iris-ing portals covered with dark
good news. The reviews were all over the      titles for each scene. In the current pro-       purple dots, an idea inspired, the designer
place, but Applegate held her own. In the     duction, as Charity makes her picaresque         says, by the silk-screen nature of Roy
words of Variety’s David Rooney: “Sweet       way through low life and high society, set       Lichtenstein’s Pop Art paintings. The por-
Charity has a plucky spirit that won’t be     designer Scott Pask contrasts vivid              tals are extremely functional: “Fluidity and
denied, and that’s largely due to Christina   splashes of abstract color and kicky dis-        speed were important considerations,” he
Applegate.” The production earned a           plays of ‘60s chic with the gritty details of    says, “especially as so many locations are
Tony nomination for Best Revival, with        the rent-a-body business; the result is          seen only once, so I started playing with
additional nods for Applegate and             more Fellini than Fosse.                         the idea of the iris” to facilitate transitions.



                                                                                              www.lightingandsoundamerica.com            •   July 2005
THEATRE
                  (The iris drops are made of 27oz.                 Pask, “was inspired by a layout in an
                  Charisma, a synthetic velour, hand-dyed           old edition of Italian Vogue,” he says.
                  and supplied by Rose Brand; the fabric            “It was a photo shoot called ‘Dance
                  was then sent to Hudson Scenic, where             Marathon.’ It featured all these women
                  the dots were applied.)                           in great clothing, drenched in sweat.”
                      The color-splashed curtain rises on the       Hanging over the deck is an electric
                  simple Central Park setting where the             sign spelling out the word “fandango.”
                  show begins and ends. Next comes “Big                 Electric signs are a recurring motif in
                  Spender,” at the Fandango Ballroom, the           Pask’s design; another one dominates the
                  cut-rate sin palace where Charity plies her       setting for Club Pompeii, the discotheque
                  trade. The ballroom is really two different       where Charity hooks up with Italian film
                  locations. The dancers’ dressing room is          idol Vittorio Vidal. The club is also the set-
                  placed far downstage in front of a long           ting for one of the show’s big dances,
                  dressing table with a series of makeup            “Rich Man’s Frug.” The backdrop is a
                  mirrors; it functions as an in-one set. The       giant blue-and-purple paisley Pucci-esque
                  table rolls away to reveal the ballroom           print, emulating the patterns that played a
                  itself; a dark, hellish location featuring a      defining roles in ‘60s couture. Other
                  curved back wall—the top half of which            design touches include all-white furniture
                  consists of smoky, marbled mirrors, with          and a narrow, white, diaphanous curtain.
                  the bottom covered by a button-tufted                 Vittorio, to spite his jealous girlfriend,
                  vinyl. Located at center stage is an enor-        takes Charity back to his apartment—the
                  mous circular pouffe, which provides a            last word in futuristic 60s modernism, with
                  staging area for the dancers to strike            a purple polka-dotted backdrop, a orange
                  provocative poses. The setting, says              painting in the style of Mark Rothko, and

                                                                                                                                                                 PHOTO BY PAUL KOLNIK




                                                                    a red velvet sofa that spans nearly the          Soon after, a section of a downstage
                                                                    width of the stage—the couch's long              right portal moves to reveal a clothes
                                                                    entrance gets a big laugh. According to          closet where Charity hides out when
                                                                    Corky Boyd, project manager for Hudson           Vittorio’s girlfriend shows up for a
                                                                    Scenic, the company that built and auto-         romantic reunion.
                                                                    mated the scenery, the couch is divided              It’s back to gritty reality for “There’s
                                                                    into four segments, which are preset in          Gotta Be Something Better Than This,”
                                                                    an upstage-to-downstage position. "The           performed by Charity and her two
                                                                    leading element is on a curved section of        Fandango colleagues on the roof of the
                                                                    track and it gets knifed up to the dog,"         ballroom. The set features a giant reverse
                                                                    which carries it onstage. "As the couch is       view of an electric Fandango sign, with a
                                                                    coming on, the other three segments get          cityscape behind. (This set, says Boyd,
                                                                    lined up and loaded onto the straight            looks enormous but is only 12” deep.
                                                                    section of track;" as they roll on, the          “The sign’s letters are about 3” and the
                                                                    effect is of one long piece of furniture.        remaining 9” is the structure that holds
                                                                        There are other visual surprises built       the sign. It’s one of the most effective
                                                                    into the scene. Charity performs , “If           uses of false perspective I’ve ever seen.”)
                                             PHOTO BY PAUL KOLNIK
                                                                    They Could See Me Now,” complete                 Then it’s off to the 92nd Street Y, where
                                                                    with top hat and cane. At the song’s cli-        Charity meets Oscar, the neurotic
                                                                    max, she stands in front of the Rothko           accountant who falls in love with her,
                                                                    painting, which is revealed to be a light-       thinking that she’s a creature of purity.
                                                                    box that converts her into a silhouette.         The first act concludes with Charity and
                                                                                                                     Oscar in a stalled elevator.
                                                                    Charity and Oscar on a Ferris Wheel (left)           The elevator is a nifty visual effect, as
                                                                    and in Central Park (top).                       Applegate and Denis O’Hare, who plays




July 2005   •   Lighting&Sound America
Oscar, enter the elevator at the stage-
floor level and it rises high above the
deck. The unit is surrounded by the
Lichtenstein-dot portals; as it rises, the
portal seems to unfurl beneath it. “The
elevator is a roll-around unit, with the
lifting device built into it,” says Boyd.
“The car travels up and down in a sta-
tionary frame, with a roll drop [for the
portal fabric] built into it. When it’s going
up, the fabric unrolls beneath it; it’s like
a window shade in reverse.”
     Perhaps because the second act
focuses more on the Charity-Oscar rela-
tionship, there are fewer big scenes.
The lovers drop in on a so-called “jazz
church” for the number “The Rhythm of
Life,” for which Pask supplies a
stained-glass warehouse window.
There’s a number on the Coney Island


The “Rich Man’s Frug,” performed at Club
Pompeii, which is dominated by Pask’s pais-
ley-patterned drop.

                                                PHOTO BY PAUL KOLNIK




Ferris Wheel, with Charity and Oscar            Gritty and glittering lighting              hard-as-nails chorus girls. Not that his
again suspended above the stage.                “Almost everything I did was inspired       vision is any way romantic; the ball-
Oscar pops the question to Charity at           by what Scott was doing.” So says           room is “haunting and attractive and
“Barney’s Chile [sic] Hacienda,” a small        Brian MacDevitt, and it’s true that his     you want to get out of there,” he adds.
unit consisting of two seedy restaurant         lighting matches the split moods of             Because Charity is loaded with
banquettes. One big moment occurs in            Pask’s design, ranging from a riot of       dances, MacDevitt used all the dance
“I’m a Brass Band,” sung by Charity             warm colors to cold, pitiless, direction-   techniques at his command. “It’s a
after Oscar proposes to her. Here, Pask         al effects. MacDevitt’s first big moment    classic leg-and-drop show,” he says.
takes the color-swatch look from the            comes in “Big Spender.” He uses high        “it works like a ballet set, so we have
show curtain and explodes it all over           backlight to create a seedy aura            an electric in each wing—not on the
the stage, turning the number into her          around the Fandango girls, then fills       floor, because there’s no room, what
Technicolor fantasy of love fulfilled.          out the scene with highly directional       with all the scenery moving in and
   Pask has nothing but praise for              side beams. As the number builds, he        out. There’s also a bounce drop—
Hudson’s staff, the production’s                adds hot oranges and reds—then the          take that big Pucci drop in the Club
stage crew, and production supervi-             girls come down front, where a trough       Pompeii; the best way to light it is not
sor Arthur Siccardi. (“This design is           of units in the lip of the stage provide    to light it, because bounce light gives
the triumph of Artie Siccardi,” he              sinister uplight.                           it a softer feel.”
says.) He adds that Bobbie and                      It’s creepy, it’s effective, but one        The moving light rig for the produc-
Cilento were invaluable partners in             thing it’s not is naturalistic. MacDevitt   tion consists mostly of Vari*Lite
realizing the production during a               stresses that he and his colleagues         VL3000s, with some Martin
punishingly short tech period and a             approached the show as “a fable.”           Professional Mac 2000s added in. “I
tumultuous tryout. “The schedule                Speaking of the Fandango, he adds,          prefer the colors of the Vari-Lites on
was crazy,” he says, then adds, “I’m            “We didn’t want it to look like Chicago     people,” says MacDevitt, “but the
really proud of what we did.”                   or Cabaret,” naming two other musicals      Macs are great on scenery. They have
                                                associated with Bob Fosse that feature      an effects wheel, too. There are three




                                                                                               www.lightingandsoundamerica.com         •   July 2005
THEATRE
                                                            Charity hiding out in Vittorio Vidal’s closet   the more I enjoy it,” he says. “Theatre is
                                                            (left) and getting engaged to Oscar at          often such a mono world, so I try to create
                                                            Barney’s Chile Hacienda (bottom)
                                                                                                            a sense of depth and space between the
                                                            green tint that many arc sources general-       music and the vocals. Splitting the systems
                                                            ly have,” says his assistant Jen                gives me a chance to do that, instead of
                                                            Schriever. “Also, they tend to mix better       depressing the band beneath the vocals.”
                                                            with the other conventional and moving              The Al Hirschfeld Theatre is, Hylenski
                                                            lights in the show.” Control is provided        says, a reasonably good acoustic space.
                                                            by a Flying Pig Systems Wholehog II             “The only issues come where the boxes
                                                            console for the moving units and an ETC         meet the proscenium. It’s a challenge to
                                                            Obsession III for the conventionals.            get good speaker positions—you have to
                                                               Watching the show, one sees how              go above or below the boxes, and neither
                                                            MacDevitt unobtrusively switches colors,        is ideal. We got the speakers on-stage a bit
                                                            angles, and intensities to build each           more than usual—we didn’t encumber the
                                                            number. “It’s been a roller-coaster,” he        set, but you end up with some reflections
                                                            says of the experience, “but I’m really         on the side box where it cuts steeply into
                                                            happy we got to a New York stage.”              the proscenium.”
                                                                                                                Upstairs, he adds, “isn’t too bad, but
                                                            Brass band sound                                for the fact that there are a lot of hard sur-
                                                            Earlier this season, Peter Hylenski             faces. The structure of the walls is parallel
                                                            designed Little Women, a period musical         and there’s a lot of volume—it’s about 80’
                                                            with a delicate, natural sound. From the        from the proscenium to the back row of
                                                            minute one hears the first seven notes of       the balcony. It's easy for the vocals to
                                                            Sweet Charity’s overture, the chest-            wash around up there, given the amount
                                                            pounding vamp that opens “Big                   of reflections and air. This show is brassy
                                                            Spender,” it’s clear that he has opted for      and you want that power coming straight

                                     PHOTO BY PAUL KOLNIK




       on the rail and they treat many of the set           a more aggressive approach. There are
       pieces, like the elevator.” It’s not a big rig       several reasons for this; for one, he says,
       for a Broadway show, but the designer                “Wayne Cilento is really big on percus-
       makes the most of it. “We were hit with              sion—nothing could ever be too loud
       budget and time constraints,” he says.               and punchy for him. When I was putting
       “There are about 40 moving lights on this            the show together, I knew that it needed
       show. We said, ‘Let’s take that challenge            tender moments, but it also needed to
       and see how we can do this.’                         bark—the ‘Big Spender’ theme, for
       Sometimes, we have only one moving                   example, has to have a bite to it.”
       light in a position—a low side unit on a                And why not? Coleman’s score is, in
       light ladder, or maybe three backlights on           the tradition of ‘60s Broadway—big,
       each line. But that’s the way it went; we            bright, brassy, and bold. Don Sebesky's
       just had to make the perfect choice.”                complex orchestrations are filled with
       The rest of the rig consists of conven-              detail—in virtually every number, there’s a
       tional units, except for some Color                  solo instrument playing its own line in
       Kinetics ColorBlasts built into the sky-             contrast to the rest of the band. And, with
                                                                                                                   PHOTO BY PAUL KOLNIK
       light of the rooftop set, which create a             18 musicians, Sweet Charity has one of
       miniature mirrorball effect, suggesting              the larger bands on Broadway right now.
       the ballroom below. MacDevitt also                      As in Little Women, Hylenski says he’s
       chose Robert Juliat Cyrano followspots,              using “a split orchestra/vocal system,” in
       for their long throws, and because the               which certain loudspeakers are dedicated
       designer “prefers their look on actors’              to the musicians and others to the voices.
       faces as opposed to the typical blue or              “The more I play with this type of system,




July 2005   •   Lighting&Sound America
at you, but, because of some direct           worked out quite accurately,” he adds.          tiny, barely visible DPA 4061 mics on the
reflections from the pit, I had to turn       Other components of the rig include             performers whenever possible. “There
the band down in the front mezzanine          EAW JF200s and JF100s for stage fold-           are quite a few hats in the show, and
to get the balance to work."                  back and two M1Ds built into the eleva-         they’re difficult to deal with,” he says.
     Downstairs, Hylenski’s speakers          tor unit for sound effects. “I used             “The chorus changes costumes so
include Meyer Sound UPA-1Ps for the           Camco amps on the MSL2s and the                 many times and they’re always putting
vocals and MSL-2As for the orchestra.         Martin subs, and they were great,” the          on different hats. Bonnie [Runk, the
He chose Martin Audio WS2A subs,              designer adds. “They not only have              assistant sound engineer] spends the
which are rarely seen on Broadway. “I         brute power but a high finesse as well.         night trying to finesse the mics into
was very impressed,” he says. “In the-        Their clarity is backed with power. Also,       decent positions and spearhead sweat-
atre, you never have a place to put           Cadac now has the M16 mic preamp—               outs before performers reach the stage.
subs and the low end gets neglected.          the orchestra mics pass through them            That’s going to be the title of my mem-
In Charity, the subs are in the hallway,      and they sound fantastic.” The show is          oirs: Hat Brims and Sweat.”
under the side boxes, where you find          controlled by a Cadac J-Type console.                As for the orchestra, he says, “There
the stairs to the boxes. I was pleas-             In addition, there’s system process-        are Neumann U89s on the trumpets,
antly surprised when I heard how they         ing courtesy of Lake Technology Mesa            87s on the trombones, and 89s on the
reacted in there.”                            and Contour units. “I love the way they         reeds. The electric bass is a vintage
     The rest of the loudspeaker rig is       sound,” Hylenski says. “Their functional-       chain, a Valvotronics DI into an 1176
filled out with d&b audiotechnik E3s for      ity is great.” Again, he has set up the         Limiting Amplifier. I have a Schertler
side fills and under-balconies, with more     system for a split effect. “The prosceni-       pickup on the acoustic bass, which is
MSL-2As and UPAs for the front mezza-         um is split, but for the fills and delays I     lightly compressed with a Valvotronics
nine. There’s also a mid-house lighting       use a single cabinet fed with a mix of          Gain Rider.” Because, in the first scene
truss with two Meyer M1D arrays on it         vocal and orchestra—however, the sig-           Charity falls into the orchestra pit, there
for the back of the balcony. “I used the      nals are independently delayable, and           was no room for a percussion section
[Meyer] MAPP Online software,” to work        you can image them separately.”                 (it’s taken up by stagehands who
out the speaker arrangement, “and it              Not surprisingly, Hylenski used the         drench her in water, as she has suppos-




                                                                                                                                     PHOTO BY PAUL KOLNIK




Pask’s color-swatch concept for “I’m a Brass Band” is matched by MacDevitt’s colorful lighting, which paces and builds the num-
ber. Hylenski must deal with a preponderance of hats in the show; this requires constant vigilance to find decent mic positions.

                                                                                                 www.lightingandsoundamerica.com                            •   July 2005
THEATRE
             edly fallen into a lake.) “So,” he says,       drum, a Shure 57 for the snare and a
             “the percussionist is upstairs, in a           Neumann KM 140 for the hi-hat, and
             dressing room. Charlie [Descrafino, the        Sennheiser 609s for the toms. The
             percussionist] is terrific. We did a survey    strings have Neumann M147s over
             of the building to find the best location      head and DPA 4061s clipped onto the
             for him. We ripped out shelves in the          instruments. The cello has a DPA
             room and tried to create a studio envi-        4021, with DIs on the keyboards and
             ronment using absorbing and diffusion          electric guitars.
             materials. The percussion setup is                 Additional processing gear is con-
             based on a stereo pair of Earthworks           centrated on the drums, to give Cilento
             TC30K omnis that hang over Charlie’s           the kick he was looking for. “I put a
             head. There are also spot mics around          Summit DL200 tube compressor at the
             the room to pick up other instruments—         desk and used the old studio trick of
             the vibes have a special and there’s a         running a stereo buss of drums
             there’s a special on the bongos. He has        through the compressors and squash-
             his own feed to his headphones and             ing it, then mixing it under the drums
             various video shots.”                          that aren’t compressed. It gives you
                Other orchestra mics include two            that extra punch and fills out the sound




                                                                                                                                                           PHOTO BY PAUL KOLNIK
             AKG 414s in overhead positions for
             the drums, which are in the pit, an             Charity in front of the Mark Rothko-style
             Audio-Technica AT-2500 for the kick             painting that becomes a lightbox.




                                                           of the instrument. I use this in many of the     timing all ultimately changed, but it was
                                                           big dance numbers, especially ‘The Frug,’        important to have something in place that
                                                           and ‘Brass Band,’ where the choreograpy          we could refine.”
                                                           relies so heavily on the drums.”                    He adds that the nine-day tech was
                                                               In addition, he says, “There’s one box of    especially hectic, given the show’s abun-
                                                           LCS, an LX300 frame, handling all the vocal      dance of scenery and many production
                                                           processing, so I can individually delay and      numbers. However, once it was loaded in,
                                                           EQ the radio mics—and it’s all programma-        he concentrated more on getting the
                                                           ble. It sits in a rack with a 12” Powerbook      enhancement scenery—those pieces
                                                           attached to it. And, if it fails, you can do a   intended only for New York—finished and
                                                           lot of the bussing through the Cadac.” The       ready to go. “With so many transitions,” he
                                                           overall result is a sound that’s big yet inti-   adds, “the schedule was ambitious.”
                                                           mate, brassy yet tender, jazzy yet romantic.        Speaking of the short tech, MacDevitt
                                                                                                            says, “We had eight days. A show like
                                                           The tryout and the shutdown                      Wicked has weeks. That’s a bigger show,
                                                           For everyone, the unusual three-city tryout      but Broadway shows don’t get tech’ed in
                                                           tour was a challenge. The production             eight days.” Still he adds, there was no way
                                                           toured without several key scenic pieces,        to go but forward: “We embraced the lean
                                                           which were designed to be seen in New            and mean and smart—I saw the dances
                                                           York (leaving Pask open to charges out of        and I knew exactly what I wanted to do.
                                                           town that the production was under-              The choreography really spoke to me. We
                                                           designed). Still, he had to deal with a lot of   were lighting pieces in two or three hours
                                                           scenery and a short tech time. “Orit Jacoby      that normally take a day or two.” He adds
                                                           Carroll, my associate,” he says, “took           that the move from city to city kept him on
                                                           Hudson’s automation software and pre-            his toes, even as it gave him a chance to
                                                           programmed many of the scenic transi-            polish his work.
                                                           tions. We went into Minneapolis with most           For Hylenski, the three-city tryout was
                                                           of the moves ready to go. Of course, the         “maybe 10-20% useful. You get to know




July July • Lighting&Sound America
54 •20052005 • Lighting&Sound America
the show and the performers. You get to         scenery was in the shop at Hudson:           the sound engineer], Bonnie, and our
work out little bugs.” But, he adds, “You       “We had 15 people working on it and          advance guys went up to PRG to inter-
have the problem of four completely dif-        they suddenly stopped. We had to find        cept the boxes and turn them around—
ferent houses. Not much of my show is           something for them to do.” He adds           they had to make sense of what was
onstage—it’s focused more on the sys-           that the scenery was put into trailers for   inside them after having been packed so
tem configuration for the theatre. I start-     storage and was easily retrievable.          quickly in Boston. Not to mention the
ed out in a 2,800-seat theatre and now             MacDevitt says, “The tragedy of it is,    fact that all the new items we needed for
we’re in a 1,200-seat theatre. At each          the electrics in the set pieces were gut-    New York—new cabling, new yokes, any-
tour stop, I changed the system design          ted—all the radio dimmers that had been      thing being fabricated—was stopped
to suit the seating arrangement and             rented from PRG were pulled out. It was      when the show announced its closing, so
architecture. We had to carry everything,       a week’s worth of work ripped out in five    we were days behind.”
from JBL VerTec 4888 arrays to extra            minutes—and, 12 hours later, the show           Still, everyone managed to get back
Meyer M1Ds, to allow for almost com-            was back on.” Even more affecting, he        on track rapidly, allowing the show to
plete reconfiguration at each stop.”            says, was “the heartbreak of it closing      open. (The designers praise Applegate
   Then came the announcement that              when we had been working on it since         for her pluck, her willingness to learn,
the show was closing, followed by its           early January.” Hylenski adds, “The gear     and her leadership of the entire compa-
resuscitation a few days later, a situa-        was on its way to the shop. There’s a dif-   ny.) Thanks to her and her colleagues,
tion that caught everyone unawares.             ferent way of loading out when it’s going    Charity Hope Valentine has had her
Pask says he ran to Boston to see what          to the next tour stop versus when it’s       sweet revenge on the nay-sayers who
he thought would be the last show.              closing, so it was more dis-assembled        thought she would never reach
Boyd notes that the enhancement                 than it should have been. Francis [Elers,    Broadway again.




Sweet Charity
Book: Neil Simon, based on an origi-          Moving light programmer:
nal screenplay by Federico Fellini,           David Arch
Fullio Pinelli, and Ennio Flaiano.            Associate sound designer:
Music: Cy Coleman                             Tony Smolenski
Lyrics: Dorothy Fields                        Production carpenter:
Director: Walter Bobbie                       William Van De Bogart
Choreographer: Wayne Cilento                  Automation flyman: Gabe Harris
Producers: Barry and Fran Weissler,           Deck automation: Scott Dixon                                               COURTESY OF SCOTT PASK

Clear Channel Entertainment                   Assistant carpenter: Richard Fideli
Scenery: Scott Pask                           Production electrician:
Costumes: William Ivey Long                   James Fedigan
Lighting: Brian MacDevitt                     Head electrician: Daniel Coey
Sound: Peter Hylenski                         Followspot operator:
Hair: Paul Huntley                            Jennifer Lerner
Makeup: Angelina Avallone                     Assistant electrician: Eric Norris
Production supervisor:                        Sound engineer: Francis Elers
Arthur Siccardi                               Assistant sound engineer:
Production stage manager:                     Bonnie Runk
David O’Brien                                 Production prop coordinator:
Stage managers: Beverly Jenkins,              George Green, Jr.
Stephen R. Gruse,                             Production prop assistant:                                                COURTESY OF SCOTT PASK


Associate scenic designer:                    Angelo Torre
Orit Jacoby Carroll                           Production prop shopper:
                                                                                         Top: Pask’s sketch for the Fandango was inspired by a
Assistant scenic designers: Lauren            Kathy Fabian                               layout in Italian Vogue. See how if compares with the
Alvarez, Tal Goldin, Bryan Johnson                                                       shot on pages 48-49. Below: A sketch of the roof of
Associate lighting designer: Charlie          Scenery built and painted by               the Fandango, with the sign in reverse, which Corky
Pennebaker                                    Hudson Scenic Studios.                     Boyd of Hudson Scenic calls “one of the most effec-
Assistant lighting designers: Rachel          Lighting equipment: PRG Lighting.          tive uses of false perspective I’ve ever seen.”
Eichorn, Jennifer Schriever                   Sound equipment: PRG Audio.




                                                                                          www.lightingandsoundamerica.com July • 55
                                                                                       www.lightingandsoundamerica.com • July• 20052005

				
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