Q1 and Vari-Lite Head Home With Sarah McLachlan
Those who plan to catch one of Sarah McLachlan's shows on her current North American tour, expect
to see a rig full of moving lights. Just don't expect to see a lot of movement - or to be precise, don't
expect a lot of unnecessary movement.
Q1 supplied Lighting Designer Graeme Nicol with nearly 50 VARI*LITE automated luminaires for the
lighting rig, but the philosophy behind the lighting design is somewhat paradoxical.
"Just because they're moving lights doesn't mean they have to move," Nicol says.
Sticking with that basic fundamental principle, Nicol created a look for the tour that is subtle, casual
and sensitive. Instead of taking advantage of the incredibly fast and intense strobe functions, the
quick-snap color changing ability or the speedy movement of the VARI*LITE fixtures, Nicol made use
of the smooth pan and tilt, the soft color-fade capability and the fixtures' CYM color-mixing system
to dial in the precise colors to create an elegant look for an elegant performer.
"There's a bit of movement, but it's not unnecessary movement," Nicol explains. "If there's no point in
making the fixture move, I don't do it."
The automated lighting rig consists of 23 VL3000 Spot luminaires, 12 VL1000TS ellipsoidal reflector
spotlight units and 14 VL5 fixtures. All of the VARI*LITE luminaires were provided by Tracey Ploss of Q1
Production Technologies in Vancouver. The main truss is a 40-foot diameter semi-circle with a set piece
linked to a 10-foot semi-circle. On each downstage corner is a horseshoe-shaped truss.
Eight of the VL3000 Spot luminaires are positioned around the 40-foot main truss. Three VL3000 Spot
fixtures are positioned on each of the horseshoe-shaped pieces and the 10-foot semi-circle. Nicol
placed the remaining six VL3000 Spot fixtures on the floor across the back of the stage for low-level,
shoot-through looks.
The VL1000 ERS units are positioned upfront for front lighting. Although the units are static for the
majority of the show, Nicol designed a few specific looks to take advantage of the units' 70-degree
"super zoom" feature.
"The VL1000 fixtures are really nice because I can use them as a front wash, but there are also times
when I turn just a few of them around and fill the whole arena with light," Nicol explained.
Curing certain songs, Nicol uses the automated, four-blade shutter mechanism of the VL1000 units
for complete framing control to light some of the trees and other set pieces on stage. The set itself is
very organic, comprised mostly of grass, rock and other "earthy" features. Nicol's design comlpements
that look and feel.
"Sarah said after the first couple of shows that the set looks like her house because she has a big tree
growing through the middle of her living room," Nicol said.
And with the comfortable, casual atmosphere Nicol was able to create, McLachlan truly does feel
right at home every night on stage.
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