Germany – The Friedrichstadt-Palast in Berlin has once again been publicly acclaimed, for “THE ONE Grand Show”: on the biggest stage in the world, more than a hundred artists gave life to a show whose extravagant costumes were designed by Jean-Paul Gaultier. The story revolves around an abandoned revue theatre, which is awakened from its deep sleep by an underground party. One of the party-goers gets lost in the magical aura of the venue, and the director of the former theatre brings back memories of the olden days. Past and present intermingle in a sort of daydream, and the young man is overcome by an ever stronger feeling of nostalgia for one particular person (The One).
The show lighting was designed by Peter Morse, using – among other lights – 22 Alpha Spot HPE 1500s, 21 Alpha Profile 800 STs, 15 Alpha Spot HPE 300s, 17 Sharpy Wash 330s and 12 K-20 B-EYEs, all made by Claypaky. He also chose a grandMA2 lighting desk.
Olaf Eichler, Head of Department of the Friedrichstadt-Palast, explained why this equipment was used: “We laid down a few pointers concerning the use of the existing material. From the previous shows, we had put together a pool of products, which Peter Morse was very positive about. He was very pleased to have the chance to work with Claypaky lights. He asked to have B-EYE K-20s and Sharpy Wash 330s. We also increased our material stock with some Alpha Spot 1500s, and hired some Alpha Profile 800 STs.
“Putting on a show full of effects is certainly not a hard task for most people with the grandMA2 system, but Peter Morse’s talent lies in creating calm atmospheres with classic theatre lighting and a vast array of colours,” said Eichler.
Eichler went on to say: “The spatial and temporal distance between California and Berlin made almost daily Skype conferences between Peter Morse and the assistant lighting designer, Andy Stübler, necessary. The results and changes made during the day were discussed in the evening with Peter. In this way, we managed to minimize the number of on-site visits during the preparation, and we ensured that all the lighting design requirements, the structure and the show file (created by Birger Krause) were available when the lighting designer and his operator arrived.”
Benny Kirkham and Gertjan Houben were the lighting programmers, Marc Vidal designed the video, and Martin Wagner dealt with the video programming.