“The combination of LED and conventional luminaires helped the lighting design to both transport the audience back in time, and forward into a razzle-dazzle show environment,” says Coghi, “and the luminous characteristics of the SPX and RAMA fixtures gave us the possibility to control areas of light as required, using the intensity and framing. For example, when June kills her husband with a knife, I wanted it to look as if the space was cut with a knife.”
Aside from their light output, the Showline LED products offered distinct practical advantages. Coghi says, “The Showline products were so important in lighting Chicago because we only had three days in the tech week to set up all the lighting equipment. Their advanced mounting adjustments, plus the precision in their movement and color calibration, gave us the confidence that we’d get the result we were expecting.”
The quality of the Showline engineering also gave benefits in performance. “The precise movement of the equipment helped us to make scene transitions quickly,” says Coghi, “which for the audience enhanced the continuity of the story, without the interruption of blackouts. In addition, the color temperature control gave us the chance to play with different contrasts, controlling zones and full-color washes.”
To provide comprehensive control of the new lighting rig, the theater also invested in a new NEO lighting control console from the Philips Strand Lighting brand. “The NEO console helped with the setup by speeding up the work processes, mainly with the control of Showline products,” says Coghi.
She says the NEO console has proved a welcome asset to the theater, “Not only for Chicago the Musical, but also for all the performances we have in the theater during the season.”
Coghi adds, “The lighting design could not have been achieved without the excellent team work of all the creative departments, and the quality increased a lot in this second season, thanks to the new Phillips technology implemented at the theater.”