Programming to older music

[traviss]

I'm working as LD on a retro show that is being presented by our venue. The show is essentially a 50's music production. Recently I've been lucky enough to acquire some new movers and other fixtures for the theater. What I'm wondering is how much of the newer stuff should I use for the show?

We're talking about music that really didn't have a light show in it's time. And the performance is intended for older people who grew up or remember those times. So I'm kind of caught between what I think we should do for lighting, and what might be a better interpretation of the era of the music.

I'd like to use as much of the lighting as possible to provide what I feel like would be a great value in a great light show to go along with the music. I'm just wondering if some of the customers would maybe rather us focus on the music (not my department) and not make it a lighting spectacle. Just to clear things up, we're not talking about 100 movers and 50 atomic strobes here. But about 8-10 movers in all.

Just wanted to see what everyone here thought about the whole thing.

Thanks

 

[josh88]

Not knowing exactly what type of music you have, id say you want classy instead of flashy. How you interpret that though is up for debate. With an older crowd and music though I would use laser style effects or looks or blinders etc. Buuttttt how you do something slower/jazzier/classier or what have you, and still keep it entertaining is another story. Personally I think you have to listen to it all and try to find the feeling you he and how you translate that into lighting


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[kiwitechgirl]

I agree with Josh - classy not flashy. That's not saying you can't use flashing lights at all, but I think I'd be using the movers more for their versatility rather than their ability to move - so not all waggling all over the stage for every song. Use them to create lots of different looks (are they wash or profile units - if they're profiles you should have a fair few gobos to play with) and if you do decide to use some movement make sure it's appropriate to the feel of the song.

 

[traviss]

Thanks for the replies.

The classy look is what I'm going for right now. I just wasn't sure if I should go all out on maybe the final number.

The music is the typical hits you'd see on a "Best of the 50's" album. So there is some up tempo stuff all throughout with some slower ballad type songs in the mix as well.

The final song is "Jump Jive and Wail" and involves the entire show cast. It's very fast tempo and as a show ender I've toyed with the idea of throwing in a bally or some chases. The show is only an hour long right now, which is about 30% shorter than our average show, so I would like to convey the idea that the song is the show finale.

As for the fixtures. I've got 6 moving spots and 2 moving washes along with a dozen or so LED pars and some LED bars. This is in addition to our conventional rig which consists of about 50k of MFL Par64s, Fresnels and Specials.

 

[Les]

If you do want a little movement, try doing some medium-paced ballyhoos with just open spot (maybe slowly changing colors). This may give the effect of followspots, which was about the only "automation" they had -- but I do believe they used figure-8 spots a lot on peppy numbers. It would probably look the most authentic if you only used a few movers and stuck to primary colors (if any).

 

[kiwitechgirl]

Thanks for the replies.
The final song is "Jump Jive and Wail" and involves the entire show cast. It's very fast tempo and as a show ender I've toyed with the idea of throwing in a bally or some chases. The show is only an hour long right now, which is about 30% shorter than our average show, so I would like to convey the idea that the song is the show finale.

I'd say that would be a great song to throw some movement at - it's a great number and if it's the finale to the show, you can have some fun with it. I reckon it's definitely one where flashy-flashy won't be out of place!

 

[Pie4Weebl]

The shows were flashy for their time, so don't feel like you can't use effects they didn't have back then.

I wouldn't be afraid to use haze and have some movers wiggle around with gobos. I wouldn't strobe the lights but I think just about anything else is fair game, as long as it is fitting with how the music feels. If the finale is a big song, make it a big song! As my old TD said: "we sell the sizzle not the steak".

 

[museav]

I'm working as LD on a retro show that is being presented by our venue. The show is essentially a 50's music production. Recently I've been lucky enough to acquire some new movers and other fixtures for the theater. What I'm wondering is how much of the newer stuff should I use for the show?

We're talking about music that really didn't have a light show in it's time. And the performance is intended for older people who grew up or remember those times. So I'm kind of caught between what I think we should do for lighting, and what might be a better interpretation of the era of the music.

Is the overall intent more a recreation or an homage? Either way it may be more important to have a consistent presentation. For example, if the music reproduction will be edited or processed to try to recreate the sound of a 1950's radio or sound system then you might also want to stick with more period lighting effects.

Somewhat related, as mentioned, there may be a difference between using modern technology to make things easier or more practical versus using newer technology to do things not previously possible. The concept of recreating a follow spot with a mover is an example of the former.

Overall, perhaps approach it as how the tools you have might be used to support the goals for the production rather than how you can manage to use what you have within the limitations of the production. If what is available can benefit the production then it should be used, but try to avoid using something just for the sake of using it or feeling like you need to use all of the tools available to you.

 

[traxman25]

I find that I often like to use moving lights for refocusable specials just as much as I do for the movement and flashiness of them. I use at least a few moving lights, or LEDs in most every theater show just because I can change the color, of a side wash for example, without having to use another fixture and dimmer. Moving lights can also be used very effectively to produce subtitle effects, adding another layer. For example, if you have 2 gobo wheels you can lightly animate a pattern by rotating an out of focus gobo behind another gobo. This adds just a bit of character to the lighting, something the audience can feel without hitting them in the face like harsh movement.

Jump Jive and Wail is still a popular song that is played by one artist or another at many a school or wedding dance. I think you can have some fun with that. I do agree with Museav thought that you don't want to break the feel of the show completely on one song. In other words, if you don't use movement for the rest of the show, don't all of the sudden use movement that is cranked to speed 11, and don't blind the audience with them. Adding some slower, subtle movement and maybe color changes would be a good idea though.

 

[DMXpro]

Slow LED color changes are pleasing to the eyes, especially for "older" music. Also, I was going to suggest the gobo rotation idea (before I read ^this post!), too.

 

[kicknargel]

I would add that if the audience is older, they're probably more interested in seeing the performers faces than your modern pop audience would be.

 

[jglodeklights]

I'm currently working on a production of Forever Plaid at the moment. We have no movers, but do have 33 scrollers in use along with a fair amount of "scenic" lighting elements. A few simple chases of the scenic lights and some live scrolls (!) with smart use of follow spots provide a neat and tidy look that doesn't have too much physical movement. As other shave said, using the movers as specials that don't move live can be very useful. 2 or 3 of the moving profile (spot) fixtures in your FOH (if you don't have follow spots they should be closer to the stage than the follow spots to provide steeper angles) and the other 3-4 arrayed over stage can provide some neat high side/back light/steep off center front light that adds some drama in multiple color possibilities. If you have some good gobos in those profile (spot) fixtures you could put 2-4 for use as front pattern specials and use the washes (which may not be so soft as to preclude using them as back or high side light) over stage in place of them.

You have a lot you can do with those movers and LED's. Choose to place them where you can use them as often as possible without it turning into a show about the lighting; we can only give you ideas about what you could do with them but you know the show and where and how you can actually use them. Find confidence to believe that the decisions you make will be correct; just keep in mind people are most likely coming to listen to a music show with excellent lighting, and not a show about the lighting.

 

[bishopthomas]

I do a lot of work with 50's and 60's acts. One of my best clients does a 50's review show as well as a Beatles tribute show. Use today's technology to enhance but not hinder the show. As has been mentioned, seeing the performers is number one. Haze and gobos. Slow moving circles. Keep the lights out of the eyes of the audience. Blinders might work in today's rock concerts but older people will HATE it. Plan on using the LED's for back/down color wash. Don't stress too much about keeping it "authentic." People are now accustomed to large production. Is the sound going to be authentic? I doubt it. We've come a long way since the 1950's, no reason to go back now.

 

[museav]

Don't stress too much about keeping it "authentic." People are now accustomed to large production. Is the sound going to be authentic? I doubt it. We've come a long way since the 1950's, no reason to go back now.

I'm not sure that is the LD's call. I have seen many period productions that try to recreate a period correct environment or that start period correct and then transition into a more contemporary approach or where changes between period and other lighting and sound are used to support changes in the setting such as for flashbacks.

I guess I took the initial comment that is was a "retro" show to suggest that the intent was to create the illusion of that period rather than it simply being performing old songs. It would be a bit incongruous to have "let's take you back to the 50's, to a different time" followed by a modern light show, however it might be completely appropriate if the goal is more that of bringing the 1950's into the 2010's. Gaining a good feel for the vision for the overall production should probably happen before addressing the design itself.

 

[PeteEngel]

Since the people familiar with the music of the 50's are well up in age (60's 70's, 80's) then less flash, trash and strobe is called for (as earlier posting have suggested0. The last thing you want is for the audience to be vomiting their dentures (I'll have geriatric stereotypes for $1000 please Alex). Good front light, non-complicated mover action and little or no audience light (unless is it straight down on the audience). Solid primary washes or 2 color primary color mix washes (left side/right side or front light/back light) work, along with primary color solid washes upstage and light colored downstage lighting on the action. Floor lighting is ok, but it has to shine up, not into the seats/eyes. Some stark single source downlight is good (like a solid beam from a mover, or a mover with a cone gobo). Less is what they had so less can be more to set the mood but you can move into more as the song/show progresses. that is my 2 cents.

 

[JSFox]

If you want to mix a bit of today in with yesterday, maybe have the movers simply move in to each song, remain static (except maybe for a followspot or two), then move out of the song. And, be VERY careful about old folk stereotypes. Chip Monck is 73. Jack Calmes and Rusty Brutsché, speaking of moving lights, are late 60's (Bornhorst is a relatively young guy). I'd bet a good chunk of your audience would gladly go see a bunch of young 60-somethings; Mick, Keith, Ronnie, and Charlie. Don't overdo it with flash & trash, but give them a show to enjoy.