Cirque du Soleil and Criss Angel may seem like strange bedfellows, but they are in bed together at the Luxor, where Criss Angel® Believe opened with a Halloween gala on October 31. Cirque du Soleil's sixth resident show in Las Vegas, Believe is the mega-entertainment purveyor's first foray into magic — and first star-based effort — a departure from Angel's popular A&E Network TV program, Mindfreak.

Making his debut with the company, director Serge Denoncourt worked with three Cirque du Soleil veterans, sound designer Jonathan Deans, projection director Francis Laporte, and Michael Curry once again providing puppets, masks, and kinetic props. Believe marked Cirque du Soleil design debuts for lighting designer Jeanette Farmer, set designer Ray Winkler, and costume designer Mérédith Caron.


“The lighting of illusions is actually a very technical and scientific process, although not as difficult as I thought it might be,” says Farmer, a 17-year veteran of Cirque du Soleil's lighting team. Believe is her first production in the role of lighting designer. “Part of the challenge is that, once the foundation is built, it needs to be brought back into the story as an emotional component of what we are trying to show you visually.”

No stranger to magic, Farmer cut her teeth on the lighting crew of Siegfried and Roy's magic extravaganza that ran for years at The Mirage. “From a large show like Siegfried and Roy to much smaller shows, magic is a staple of Vegas entertainment,” notes the Vegas-born designer, who adds that Angel's illusions team was on board to help make sure the illusions worked within the overall aesthetic of the show.

To create viable lighting positions in a venue that was a pretty straightforward Vegas-style showroom, Farmer added a 70'-long FOH lighting bridge. “This is well integrated into the room above the center cross aisle in the theatre,” she says. “I wanted some angularity to keep the lighting off of the RP screen. There are fantastic images by Francis Laporte, which create the background for much of the show.” Gear loaded onto the bridge, which became the principal FOH position, includes projectors, lighting fixtures, speakers, and followspots, as well the spot ops.

The lighting system, a combination of new and existing gear, includes an Electronic Theatre Controls ETCNet2 Node networking system and ETC SmartSwitches for both 120V and 208V non-dim power. The dimmers include the theatre's preexisting eight Colortran/Leviton i96 Series racks, with two new racks added to meet the needs of the show. “We took a chance and kept the existing dimmers, and upgraded how we deliver information to them,” notes Farmer. Control ranges from an ETC Unison architectural control system to four MA Lighting grandMA and grandMA light consoles — two used for lighting and the remaining two for special effects, including water, smoke, pyro, and flames.

One large control booth at the back of the house comprises lighting, projection, special effects, and stage management. Automation is located in what Farmer calls “a condo position off stage right, on a deck above the stage itself for a better point of view.” PRG supplied the lighting system, with site project manager Jim Holladay (whom Farmer refers to as “the king of infrastructure”) supervising the installation along with an integration team from ETC and CDS project manager Alan Pilukas. Barbara Brennan and Jennifer Christiansen from PRG were the liaisons for the fixture package. “One of the challenges,” says Farmer, “was the integration of decade-old technology with state-of-the-art gear, as well as getting the grandMA network to talk to the ETC systems and the Leviton dimmers. PRG, Pilukas, and consultant Bob Levec did a fantastic job, and I had a lot of support. ”

From the looks of things, the system certainly supports Farmer's design expectations. “The goal is to take people through many different worlds, such as a nightmare/dream world, and play with different time periods. It was challenging to play with the idea of time,” she says. “The show starts in the present tense with a cutting-edge magician and a rock ‘n’ roll feeling. Then right away, we take the audience back to a Victorian dream world.”

Inspirations for the designs included drawings by Leonardo da Vinci and a Renaissance style, and Farmer did research into what theatre lighting looked like before gaslight. “The director had strong opinions about the visual aesthetic, and I was thrilled he had a specific vision for the quality of the show,” Farmer notes. “Having that goal in mind gave me a lot of room to experiment. We talked a lot about color and how it relates to emotion and how we might feel about something.” One of the design decisions was to use a different monochromatic palette for each scene. “It's as if the scenes are tinged with sepia, and you are looking at an old photograph,” Farmer adds.

“Dance is also a key element, as this is not an acrobatic show,” she continues. “The hallmark is magic supported with the ground-based dancers led by choreographer Wade Robson.” As a result, one of Farmer's responses was to create the first layer of her rig as a traditional dance plot. “I cracked open Jean Rosenthal's The Magic Of Light and looked at classic lighting design for dance sidelight,” she says, noting that there is a constant of two-tone light on Criss Angel coming in from the sides. “Almost every scene has some sidelight.”

Storytelling also informed the shape of the rig. “The next layer is a theatrical rig with box booms and front washes to light surfaces,” Farmer adds. A third layer is in keeping with Angel's persona, allowing Farmer to create a rock ‘n’ roll feel when appropriate, blasting the artist and the audience with big beams in the air.

The many layers result in a big rig, the architecture of which was in part influenced by color considerations. As Farmer points out, the rig is “big for the size of the room,” with a total of 1,500 fixtures. “O has 1,800 lights. It's an interesting comparison when you look at the sizes of the shows,” she says, noting that for Believe, she uses more conventional fixtures than automated luminaires, with just 140 movers in the overall rig, laid out in advance using Cast Software Wysiwyg, with Proluxon in Montreal providing initial file preparation.

Among the automated lights, she opted for Vari-Lite VL3500s for their framing shutters, while she found Martin Professional MAC 700 spots and washes “awesome for their size and amount of light output.” She also wanted “the ability to color correct toward Tungsten and avoid acid colors in the traditional looks by toning down the lamps and working with Martin on custom color correction to reach the color temperature of an ETC Source Four,” she says. “Martin also worked on the dimming profile and reworked the software for the dowser curve, so we could integrate the movers with the conventional lights' 20-count to black and take away the mechanical pop to black look.” Wybron scrollers add color on the conventional side of the rig.

“The rig is big but really simple — nothing very ground-breaking,” says Farmer. “It is symmetric in terms of the conventionals and automated hang. I wanted to know where all the lights were in my head. Once they were installed, I concentrated on lighting the main characters and dancers, and everything is very angular, with beam breakups from strange angles. It's all about non-symmetrical patterns and shifts from the symmetrical rig.”

For followspots, Farmer also did some derring-do. She selected Robert Juliat followspots: two Victor 1,800W medium-throw spots on the FOH bridge and two Lucy 1,200W short-throw spots, one each integrated high up into the corners of the scenic proscenium. “We built a structure to get the operators up there,” she says. “My inspiration for that was partly from opera where they often use high, steep angles from the first electric. I like it for the angularity and how it fits with the aesthetic look. Our amazing spot operators add to the poetry of the show.”

Farmer then added an additional two LDR Canto 1200 followspots directly on the deck — one on either side of the stage — and operated by the deck electricians. “It is beautiful and unusual to be able to light people in ways you don't usually see them lit,” she adds.

One of Farmer's favorite lighting looks is a moment when there are no upstage projections. “It's the scene with flames and smoke when Criss is going to be cut in half,” she says. “There is a large corrugated wall on stage. We put holes in the wall so we could blast bold light from behind in custom positions, with the light piercing through from the upstage back wall.” This was achieved by using a cluster of 19 750W ETC Source Fours and 40 ACLs. “That gave me the power I wanted with no color and strong white light to cut through the scene, with its ambers and reds for the flame effects. Second assistant lighting designer Josh Koffman and I imported the scenery into Wysiwyg, and I was able to sort it out not having the crew hanging around the theatre. We solved it and knew where the fixtures needed to go to get the effect we needed. That was one moment when all the prep paid off, and everybody's jaw dropped in the theatre.”

Additional lighting was built into Winkler's scenic pieces, the largest of which is the elaborate gold Baroque proscenium frame, which features a large clock at the top and a series of rabbits (the show's fetish animal), some 12' tall and some automated, pulling Angel's head out of a top hat. For the fixtures built into the proscenium frame, Farmer tested LEDs but didn't find anything that had what she was looking for: “a color temperature with that satisfying warm glow reminiscent of candlelight. Even color-corrected, the LEDs had a greenish glow, and they couldn't dim down without a final pop at the end,” she explains. Instead, 18,000-hour MR16 lamps are used in TMB PAR20 fixtures treated with high-heat gold paint that allow them to be hidden in the proscenium frame.

“Most of the scenic elements and props are illuminated from within,” Farmer adds, “such as the war machine and the Tesla cage. Assistant lighting designer Brad Nelson managed much of the design details for the more than 20 specific elements containing practicals and built-in lighting, while Pilukas provided infrastructure technical designs. The internal lighting means less beam work in the air to compete with the RP images.” She also created more than 200 lanterns in five different styles, some of which are handheld, that use color-changing RGB LEDs with City Theatrical's flicker effect customized to work with LEDs. “The artists carry around a color-changing light source to aid with the storytelling,” notes Farmer. “The color of the light integrates with the overall scene and changes with the mood and emotion on stage, from a blue glow in a fantasy wedding to blood red when the antagonist arrives.” Other lanterns hang throughout the theatre and around the proscenium frame. All were custom built by lantern manufacturer W. T. Kirkman®.

In one moment of dark humor, a lighting fixture breaks loose and falls on a bunny character. Michael Curry made the falling fixture, using the mold of an old Fresnel and casting it in a very lightweight material. “It is as light as a feather but looks heavy when it crashes to the ground,” notes Farmer. The prop fixture has light integrated into it and flies in with a real Fresnel on either side for authenticity. Curry also created a small bunny that races across the stage chasing a carrot, for which Farmer uses a followspot with frost for a smooth edge.

Dressing trunks have Philips Solid-State Lighting Solutions/Color Kinetics ColorBlast 12s with radio control built in, and a bouquet in the wedding scene has light built in for a warm glow. There is also a real Tesla coil in a cage on stage. “The arc of electricity you see zinging around in the cage is real,” Farmer points out. “We had to keep the stage lighting low so you can see the effects of the coil, so we added fixtures in the cage to enhance the set and the coil, with a TMB Solaris Quasar 15kW Strobe adding big white flashes of light, like an electrical arcing discharge effect.”


One of Farmer's challenges came from the large, intense images on the upstage RP screen. “I had to make sure the action didn't get lost in front of the image,” she says. “Francis Laporte had done a lot of preliminary images. Magic was uncharted territory for Cirque, and they wanted less experimentation in the theatre. We knew where we wanted to go and massaged it in the lighting, the images, and the live action.”

For Farmer and Laporte, close collaboration was important. “We wanted the audience to see the whole picture,” says Farmer, who constructed color strings and textures to complement the projected images. In one of the most stunning scenes, a large field of red poppies appears on the screen, and Curry's prop-poppies fall onto the stage. “This one was tough,” says Farmer. “There is a floor of green silk and the red poppies and red dervishes on stage. You can't really mix red and green light together without an unwanted effect in this case, so I used two different angles and hung sidelights in odd positions as high as 20' from the deck to shoot across the stage. You never see the light land; you only see what it is lighting.”

The projection system uses the theatre's fiber-optic backbone for video transport and includes 20 Christie Roadster S+20 projectors: three FOH on the bridge, 12 upstage for the 60'×30' Stewart Filmscreen Aeroview 70 RP screen, and three on a custom shelf that project onto a 32'× 20' downstage Stewart Filmscreen LumiFlex 50/50 screen used for both front and rear projection. The custom, seamless screens are hung on counterweighted line sets and flown in and out as needed. “The Aeroview screen diffuses light very well,” says Tom Juliano, projection systems project manager for Believe. “It also responds quickly, and there are no hot spots. You can't tell that the source is behind the screen.” There is also a live camera used at the top of the show to involve the audience intrinsically in the action.

The final two Christie projectors were adapted by Juliano, who redesigned them into custom, manually-operated projectors, nicknamed the “gunny” projectors. In order to use these like spotlights, each one is mounted on a Vinten Vector 950 fluid head to support the 200lb weight of the projector and provide smooth pan and tilt, with an AMX interface for zoom, focus, and shutter control via a custom joystick. “These are really ground-breaking,” says Juliano, who is proud of his invention. “A local company, Spencer Technical, took my idea and built the hardware.”

Image playback is via 12 Green Hippo V3 Hippotizers, located in a rack room next to the control booth and using PC-based Zookeeper control. Nigel Sadler of Green Hippo helped with installation and tech support. As the images were more high-tech than Laporte usually provides, Juliano set up an HP/CalDigit HDPro four terabyte render farm for custom content creation. Images were composited using photographs and computer-generated images using such programs as Maya, Adobe Illustrator, Photoshop, and After Effects. In terms of the projection challenges, there is only a 30' throw behind the large RP screen, so Christie's new short-throw lenses are used. Solotech provided the video gear package, and Selina Davenport is the lead projection technician/operator on Believe (Juliano has moved on to Cirque du Soleil's new project at City Center in Las Vegas).

For staging and programming of projections, Juliano notes that an Evertz MVP® Multi-Viewer system was installed to allow programming and operation of each output of the Hippotizer servers “without ever turning on a projector,” he says. The MVP places tiled video frames onto two Sharp 42" HD LCD monitors mounted in place above the operator. “We can configure each of these monitors however we wish by the use of a remote operators panel that was supplied by Evertz,” Juliano adds.


Francis Laporte, who also designed the images for Cirque du Soleil's Love, wanted the images in Believe to completely complement whatever was happening on stage. “Love,” he says, “is a music show where everyone knows the songs. The images are in keeping with the rhythm of the songs and more dynamic and colorful. Believe is more about creating a mood, with one image per scene, changing and evolving. The images are in your focus at almost every moment, and they create much of the décor on a fairly empty stage.”

The images strongly evoke the odd Gothic/Victorian mood on stage, a world Laporte refers to as “elegant, dramatic, mysterious, and twisted. We know we are looking at projections, and we don't try to fake it,” he says. “We are working in a theatrical aesthetic from an old, Italian theatre to sometime in 2008.” The surrealistic nature of the show required more composite 3D images, in contrast to Laporte's position that “he is still organic at heart — more of a painter than a computer person or graphic designer — but today, we have the tools to create my ideas.”

As a transition into the twisted, fantasy world, Laporte called upon the bunny motif, with a small white CGI bunny running into the “walls” of the projection screen as he tries to hop off stage. “It's a one-minute segment that took five or six people working like mad to please me,” he says. “I wanted it to be very realistic, and you can almost believe it's a real bunny.” In the duel scene, Laporte created an industrial landscape with factories, built in 2D using photographs, with smoke and flame effects added. “There is not too much color in this show,” he says. “The images create more discrete backgrounds. They are very big, but subtle.”

Working with illusions was also new to Laporte. “It is challenging to create images in back of the illusions, rather than the traditional dark backgrounds in a magic show,” he says. “I went back to the masters of optical illusion to find ways to solve the situation. This is a theatrical show, with a narrative, as well as a visual show with illusions.”


In terms of the Luxor Theatre, the redesign was fairly extensive, although it does not have the “wow” factor of the environments created for or O, for example. “The goal was to take an existing theatre and leave it pretty much as it was,” says Farmer. But as the new show's needs developed, the 1,600-seat theatre proved to need more than a simple facelift and underwent what Farmer refers to as “a gentle renovation.” The seating configuration was redone, with wider, more comfortable seats and better sightlines throughout. Trizart Alliance served as theatre consultants in conjunction with CDS lead Ray Forton.

In order to add the FOH bridge and the gold proscenium frame, as well as other elements for the show, extra steel had to be added to the roof structure, which had not been built to support such extra weight. There were also major acoustic adjustments made by JaffeHolden Acoustics. “It was an existing facility with many acoustic problems, including multiple echoes off the back wall, and a noisy HVAC system,” says lead acoustician Mark Holden, who adds that there were smoke hatches on the roof that made noise when the wind blew. “It was like dropping a plane on the roof.”

Working with Pierre Lemieux from Trizart, acoustic improvements were done to make sure the response time was up to Cirque du Soleil's standards. “We tested and measured and came up with three treatments,” says Holden. First, thick absorption panels were added in select places to control the echo from the rear wall. Secondly, reverb time was controlled by surgically adding acoustic panels where needed. “We told them not to cover all of the side walls for fear of making it too flat,” Holden adds. “We did computer modeling and ray drawings to make sure we left enough energy and life in the room.”

The ceiling of the room was also treated in an unusual way, by adding a certain density and thickness of fiberglass above the old gypsum board ceiling to make it work better acoustically. “We made it a bass absorber tuned to suck up the bass in the room and reduce the boom,” Holden explains. “Jonathan Deans likes strong bass, loud and with impact, but you want it to die quickly, so the ceiling became a bass trap.”

The third major improvement was to reduce the noise from the air system, partly by reconfiguring a duct that was roaring away near the edge of the stage. “We got rid of a lot of noise,” continues Holden. “The room can now be tightly controlled acoustically to handle loud and soft sound. It is flat, with no echoes but still has energy. You can get a great dynamic range.”


“The show is driven by Criss Angel and his rock concert-style performance at the top,” says Deans. “Then we move into a fantasy world and a more typical Cirque du Soleil kind of sound and a great score by Eric Serra. The acoustics had to suit what we needed to do, so Mark Holden worked his magic to neutralize the room for rock as well as the enveloping soundtrack.”

Angel uses handheld mics as well as mics on his costumes. “We had to carefully place them where they didn't affect what he wanted to do, which was challenging for the sound team,” says Deans. “We didn't want to use a headset, as we didn't want it to look as if he was using electronic gadgets to aid in his illusions, but he is amplified to personalize the show and make it more interactive.”

Deans created a rig including various models of loudspeakers from Meyer Sound, giving him the control and consistency he needed for “proper soundscaping, so we could move sound and envelop the audience — or not,” he notes. “This is not like Love or with speakers in the seats to envelop the audience and super-layer the sound. This show is about the performers on stage. The amount of soundscaping has to create a global sound, not point-sourced away from the stage, as that can be distracting from the focus on Criss. The audience has to focus on the illusions.”

The rig, which Deans says is budget-conscious and straightforward, did have to meet the needs of certain scenes, such as Angel hanging upside down over the audience. Deans describes the ambiance as “very techno, like going to a rave. We need a lot of sheer power in the auditorium.” Ultimately, the rig can be used to focus when a point source is needed, but that was not the main design criteria. The surround system, however, is present constantly as part of the overall experience. “The sound is very layered and involved but focuses you to the stage,” says Deans. “We still treat the sound as you would expect with Cirque du Soleil, but you focus on the visual images rather than the music.”

Deans also uses Meyer Sound's LCS Series Matrix3 audio show control system with a CueConsole controller. “We have certain moments in the show where we run timecode to the projections,” he explains. “The projections take their cues from the music or vice-versa. I like having a show control system so anyone can trigger anyone else, or be triggered. It's important to be able to happen in either direction to move on with the creativity and not be hampered by the technology when you are trying to accomplish something.”


Winkler, who is a designer at Mark Fisher's Stufish in London, notes that the scenic aspects of Believe “create a weird world of surreal references, mixing styles and genres into a unique setting,” to support the illusions. This weird world begins with the large gold proscenium frame, built by Calgary-based F&D Scene Changes, which sets the tone for the entire production. “The set had to complement the magic performances, be subservient to their very stringent demands, and provide an environment for the magic that worked technically and was stylistically interesting,” he says.

While Believe got off to a rocky start in terms of reviews, the visual and technical elements are what anyone would expect from Cirque du Soleil. And as they have done in the past, the creators will continue to tweak the show. After all, everybody believes in magic!



Designer: Jeanette Farmer

Project Manager: Alan Pilukas

Assistant Lighting Designer: Brad Nelson

Second Assistant Lighting Designer: Joshua Koffman

Console Programmers: Benny Kirkham, Demfis Fyssicopulos

Assistant to Design Team: Elizabeth Maybourne

CDS Theatre Lighting Infrastructure Coordination: Ray Forton, Bob Levec

Wysiwyg File Creation: Proluxon Montreal

Head Electrician: Sean Finnegan

Crew Lead and Followspot 1: Megan Masching

Spot Operators: Blair “Adam” Baillio, Israel “Izzy” Golubich, Mary Stanley

Deck: Ross Feilhauer, Dave Becker

Day maintenance: Paul Simeon:

Rovers: Evan Reisner, Rob Asevedo

Lighting Crew: Scott Dell, Laif Salvadori, Lee Schultz, Kyle Cottrell, Craig “TC” Davis, Mike McGarry, Anthony Rodriguez, Noah Wynia

Equipment Supplier: PRG Lighting Las Vegas (Project Managers: Barbara Brennan, Jim Holladay, Jennifer Christianson)


Designer: Francis Laporte

Project Manager/Content Producer: Melanie Viau

Projection Systems Project Manager: Tom Juliano

Lead Projection Technician/Operator: Selina Davenport

Projection Technicians: Andrew Atienza, Louis Esposito

Equipment supplier: Solotech


Designer: Jonathan Deans

Assistant Sound Designers: Brian Hsieh, Jason Rauhoff

Head of Audio: Robert Mele

Lead Audio Tech/Monitors: James Edmondson

RF Tech: Scott Peerson

Audio Tech: Tim Van Ness

Equipment Supplier: Solotech



20 Christie Roadster S+20K Projector

60'×30' Stewart Filmscreen Aeroview 70 (Seamless)

32'×20' Stewart Filmscreen LumiFlex 50/50

13 Green Hippo Hippotizer V3

1 Sencore OTC1000 Color Meter

1 Sencore VP401 Test Image Generator

1 Canopus / Grass Valley ADVC3000

4 Cisco Catalyst Gigabit Ethernet Switch

5 Cisco Transceiver, Fiber Adaptor

1 AMX Netlinx Master, NI-4100 with Touch Panel Interface

26 Extron Fox 500 DVI-MM (Tx)

26 Extron Fox 500 DVI-MM (Rx)

1 Evertz MVP 1 24 Input Multisource Viewer

1 Panasonic AG-HPX170 Camera

1 Extron SDI Fiber Converter Tx/Rx set (Fox 500 HD-SDI MM)

2 15" Marshall Monitor

Rendering Station/Edit Suite:

1 HP xw9400 Workstation

1 NVIDIA Quadro FX 4600 Graphics Card

1 Caldigit HDPro (4TB)

1 Panasonic P2 Card Drive

1 Adobe Graphics Suite

1 Autodesk 3D Studio Max 9

1 Apple Mac Mini (Content Management)


1 MA Lighting grandMA Console

3 MA Lighting grandMA light Console

4 MA Lighting NSP

4 ETC ETCNet2 4-Port Gateway

20 ETC ETCNet2 2-Port Touring Node

1 City Theatrical SHoW DMX Transmitter

4 City Theatrical SHoW DMX Dimmer

2 City Theatrical SHoW DMX PDS-50 Receiver

1 City Theatrical SHoW DMX Personal Dimmer

1 ETC Unison System (Rehearsal/Worklight Control)

2 Leviton i96 Dimmer Rack (New)

96 Leviton i500 Dual Dimmer Module (New)

1 Strand 24 Dimmer Pack (New)

4 Leviton DS6000+ 4 Dimmer Pack (New)

8 Leviton i96 Dimmer Rack (Existing)

384 Leviton i5000 Dual Dimmer Module (Existing)

8 Leviton 120V Control Module (Existing)

7 ETC SmartSwitch 48

1 ETC SmartSwitch 24

4 ETC SmartSwitch 8

6 Pathway Connectivity DMX Repeater Pro

4 Cisco Catalyst 48PS Switch

2 Cisco Catalyst 24PS Switch

11 Compulite Opto Splitter

1 Linksys Wireless Access Point

38 Altman Lighting Shakespeare 20× Ellipsoidal

27 Altman Lighting Shakespeare 30× Ellipsoidal

25 Altman Lighting Shakespeare 40× Ellipsoidal

6 Altman Lighting Shakespeare 50× Ellipsoidal

134 ETC Source Four 10× Ellipsoidal 750W

118 ETC Source Four 19× Ellipsoidal 750W

239 ETC Source Four 26× Ellipsoidal 750W

146 ETC Source Four 36× Ellipsoidal 750W

54 ETC Source Four 50× Ellipsoidal 750W

72 ETC Source Four PAR MCM

1 Strand Lighting 1.2kW Daylight PAR

24 Hydrel 4427 Submersible PAR64

36 ACL

4 TMB MR16 Blinder (Custom)

12 Altman Lighting ZS3 Zipstrip

6 Altman Lighting Single Cell Cyc Light

10 James Thomas Engineering 4-Cell Cyc Light

15 Mole Richardson Nooklite

12 Mole Richardson 2,000W Super Softlite

4 Mole Richardson 4,000W Super Softlite

1 Mole Richardson 4000W 24" HMI MoleBeam

2 Wybron BP2 Beam Projector

3 Robert Juliat D'Artagnan 18°-38° Followspot

2 Robert Juliat D'Artagnan 30°-53° Followspot

2 Robert Juliat Victor 1,800W MSR Followspot

2 Robert Juliat Lucy 1,200W HMI Followspot

2 LDR Canto 1200 Followspot

25 Vari-Lite VL3500 Spot

34 Martin Professional MAC700

34 Martin Professional MAC700 Wash

4 Martin Professional Mania SCX600

28 High End Systems Cyberlight

18 High End Systems Studio Color 575M

3 TMB Solaris Quasar 15kW Strobe

11 High End Systems DataFlash AF1000 Strobe

6 GAM Products StarStrobe

11 Wildfire WF-400 S/F

14 EncapSulite T12 Fluorescent Stick Light

2 Philips Solid State Lighting iW Blast 12TR

1 Wybron Eclipse Dowser for MoleBeam

50 Wybron Coloram IT 7.5" Scroller

44 Wybron Coloram IT 10" Scroller

62 Wybron 7" Scroller

4 Wybron 10" Scroller

220 Incandescent Light Strings


1 Meyer Sound LCS Series Matrix3 Processing System with CueConsole

2 Sennheiser SKM 5000U Handheld Wireless Microphone

1 Sennheiser EW300IEM G2 In-Ear Wireless Transmitter

1 TC Electronics M4000 Effects Processing

1 DBX 120A Sub-Harmonic Processor

1 Denon DN-T620 Cassette/CD Player

1 Marantz Professional PMD371 CD Changer

25 Meyer Sound M1-D Loudspeaker

12 Meyer Sound CQ-2 Loudspeaker

4 Meyer Sound CQ-1 Loudspeaker

22 Meyer Sound M'elodie Loudspeaker

6 Meyer Sound SB-2 Loudspeaker

20 Meyer Sound MICA Loudspeaker

8 Meyer Sound 700HP Subwoofer

8 Meyer Sound UMP-1P Loudspeaker

3 Meyer Sound MTS-4A Loudspeaker

4 APC Smart-UPS 3000 VA Portable SFX Speaker System

6 Adam A7 Monitor