Production Reviews

Sydney-based Live Event Services has been providing production for the past ten Golden Guitar Award ceremonies and the crew is thankful not to have to work outdoors!

“We were so excited to work with Jonathan Deans and the team from the Atlantic Theater Company to bring the first theatrical application of Holoplot to life.”

“The dome itself is not that complicated a system for the projection path, but the difficulty lies in the various constraints that this format imposes, which is why we have to rely on the quality equipment,”

The original sound design by Tony Meola has been updated to include new loudspeakers and processing from Tony’s preferred manufacturer, Meyer Sound

This meant there was effectively 30 concerts worth of equipment in play, with only one of them staying set up and patched.

“L-ISA spatial audio gives us the tools we need to quickly and efficiently program a 360-degree experience that conveys the excitement and nuance of each musical moment in the show,”

“Eight dancers utilise tracking ‘beacons’ during the Fire Dance to trail fire and smoke along the screens in real-time with the dancers.”

“If people can’t follow the dialogue, they lose attention, a situation compounded by Shakespearean English, which is not always easiest to process in the first place!”

“The live percussive soundtrack manages to seamlessly weave its way through a multitude of sonic textures, mirroring the transformation and evolution of the choreography.”

“It’s a really good fixture to use for live music. They move quickly, and they’re still quite small, which helps direct them in a more precise manner than some of the other bigger wash units will allow in such a low-ceiling room.”