Guests at Rose.Rabbit.Lie. can dine on a small-plate menu in the library area, have drinks at the bar and in the study, and catch the “Vegas Nocturne” ticketed show that plays three times throughout the night; the theater transforms into a club following the last show and performers turn up everywhere to entertain guests.  Walls move up and down to reconfigure the space, and guests move from room to room as they choreograph their evening and enjoy a customized experience.

Justin Spangler and PSX Audiovisual Technologies in Covington, Louisiana, supplied Clay Paky fixtures and grandMA2 gear and were also the integrator on the project.

Lighting designer Nick Whitehouse came on board at Rose.Rabbit.Lie. at the behest of Spiegelworld.  He was tasked with creating theatrical lighting schemes for all nine rooms to enable every bit of the venue to act as a performance space.

“It was a large-scale project, the idea being that theatrical elements play around the whole venue,” says Whitehouse.  “So we really had to design the lighting to make performance possible anywhere – and have the performers lit properly anywhere.  I needed to design a rig that could cope with anything without being just everywhere.”

One of the biggest challenges was trim height since the overall trim of the venue was about 15 feet and some of the performers are high-wire and aerial acts, which come close to the lighting rig.  “Many of these acts need to have consistent and very specific lighting for safety reasons, so I had to design a rig with proper lighting, safety and limited trim height in mind,” Whitehouse says.

“I also had to be able to have up to three acts going on at the same time in different rooms and, since the show is constantly changing, make the rig adaptable to fast changes that happen pretty much all the time.”

Whitehouse chose Clay Paky Alpha Spot QWO 800s as the spot fixtures throughout the venue.  “They do the majority of work in the space.  They light all the performances and provide the main key lighting. Because the space is essentially in the round and performers use every part of the rooms, the fact that we had a fully-automated rig meant that we could reduce the number of fixtures as they could all do multiple jobs.  The QWO 800 spots have amazing optics, high brightness and, most importantly, small size and weight.  We use 64 throughout the space with the main concentration in the theater where the main show and nightclub are centered.”

Whitehouse also selected 53 Clay Paky Sharpy Wash 330s as the main theatrical wash in the theater; he likes the fixture’s size, speed and variable zoom and frost features.  “The spots and washes provide some great effects lighting as needed for the more up-tempo numbers with some really nice looking gobo and beam looks from the spots,” he says.  “They immediately transition into effects lighting for the nightclub, which opens after the 12 am show finishes.”

Whitehouse runs the show on a grandMA2 light with an onPC system with both command wing and fader wing as the second operator position and back up.  He also has an in-line NPU.

“grandMA2such a stable, flexible console so it was the natural choice for this kind of show,” Whitehouase says.  “The ability to have multiple users and operators and to quickly be able to change large parts of the programming are just a few of the reasons I chose grandMA2.”

Whitehouse took advantage of grandMA2’s timecode for a number of acts that needed to be well synchronized to their music tracks.  “We also use the VyV tracking system in the MA 3D environment.  We use it to track late-night bottle service in some quite cool ways: The tracking chip follows high-priced bottles to their tables in a very unique way for Vegas!”

Whitehouse programmed the main show in the theater and oversaw the programming as a whole; David Schulman and Michelle Harvey programmed the other rooms at Rose.Rabbit.Lie.  “Bobby Brooks did an exceptional job with the nightclub programming and late-night acts and with generally cleaning up the show files since a lot of fixtures are run from the grandMA2, including all the house lights,” says Whitehouse.  Brooks is currently the operator for the main show, which runs on the grandMA2 light.  Harvey runs the shows in the other rooms from the onPC set up.

Equipment List:

64 Clay Paky Alpha Spot QWO 800s
53 Clay Paky Sharpy Wash 330s
grandMA2 light with an onPC system with both command wing and fader wing
grandMA2 NPU

Design Team:

Creative Director:  Wayne Harrison
Resident Directors:  Darren Weller & Julie Richardson
 
Design Director/ Production Designer:  Josh Zangen
Art Director/Props Design:  Matt Hodges
 
Lighting Design:  Nick Whitehouse
Laser Design:  Pyrotechnico / Emo Palumbo
 
Choreographer:   Lucas Newland
Tap Choreographer:  Dein Perry
Specialty Choreographer:  Gideon Obarzanek
Resident Choreographer:  Jeslyn Kelly
 
Directors of Comedy:   Voki Kalfayan & Anais Thomassain
 
Music Director:  Jamie Siegel
Resident Composer:  Nathan Kil
Resident Musical Director:  Michael Dobson
 
Production Manager:  Mike Bauder / MB Productions
Associate Production Manager:  Andrew Deichman
 
Producer:  Ross Mollison & David Foster / Spiegelworld