The Tívoli Theatre, located in the heart of Barcelona, is one of the city's most iconic performance venues. With a history dating back to 1919, its classical architecture and impressive decor make it an ideal location for major productions.
Over the years, the Tívoli has witnessed countless shows, but few as vibrant as Priscilla, Queen of the Desert.
This musical, based on the iconic 1994 film, is an explosion of color, energy, and disco music. As José María Cámara, one of the industry's leading names, described it, “Priscilla is the party of parties”. A production of this caliber requires an impeccable staging, where the audience's sensory experience is complete. As Guillermo Cuenca points out, “from the moment the first notes sound, the audience knows they are in for a great time. They leave their problems outside the theatre and fully immerse themselves in the magic of the show”.
Challenge
Designing the sound system for a theatre of this size and characteristics presents multiple challenges. The architecture of the Tívoli Theatre, with its various seating levels and balconies, demanded a solution capable of providing uniform coverage without losing clarity or dynamic balance. As Gastón Briski, sound engineer, explains, “the main objective was that every audience member, regardless of their location in the hall, would have the same sound experience. There could be no areas where the sound was perceived differently or distorted”.
Another fundamental challenge was ensuring that the amplification sounded as natural as possible. “When the sound is well done, you become immersed in the story without even thinking about it”, Briski points out. In other words, the system had to integrate seamlessly into the musical's narrative, allowing the story to flow without the audience noticing the technology behind it. Furthermore, the combination of musical numbers with dialogue and dramatic transitions required a system that could precisely handle dynamic changes in sound levels.
My goal is for every audience member to perceive the sound of the show equally, adds Briski.
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Solution
For the precise management and adjustment of the sound system, the ALMA software was used, which allowed for optimizing the configuration of the different system components, ensuring uniform coverage and impeccable sound performance.
To meet these needs, a sound system based on the ARA series was designed, which provided not only great power and clarity, but also an immersive and natural experience. The system's distribution was meticulously designed so that every area of the theatre received sound uniformly.
When people enter and notice the sound pressure in the theatre, they know they are there to enjoy themselves, have fun, and leave their problems at the door, explains Guillermo Cuenca, Technical Producer of SOM Produce.
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The proscenium was covered with linear SARA arrays, which provided great definition and coverage in the front rows. For the audience closest to the stage, ARA-P28 systems were used, ensuring a smooth transition and consistent sound experience. The front rows were reinforced with Artec-506 speakers, allowing the sound to reach with clarity without the need for excessive volume.
The use of surround systems was key to creating an immersive feeling, especially during the most theatrical moments of the musical. As Pedro Galana Barrios explains, “the goal was for the sound not only to come from the stage, but to envelop the audience in an organic manner”. Thus, speakers were distributed along the sides and at the back of the theatre, enabling spatial effects without them feeling artificial.
For the upper levels of the theatre, a delay system based on SARA and ARA-P28 was implemented, ensuring that the signal arrived in a synchronized manner and without loss of definition. Additionally, the ARA-P28 units were used as part of the surround sound system, reinforcing the immersive sensation and contributing to a spatial auditory experience. Moreover, the SARA SUB subs, being cardioid, minimized energy dispersion at the back, preventing unwanted low-frequency build-ups and ensuring a uniform distribution throughout the venue, providing greater control and clarity in the low frequencies.
The final design ensured that every seat in the Tívoli Theatre offered the same sound experience, regardless of the distance from the stage. In conclusion, Gastón Birski made the following remark: “This system has pleasantly surprised me. The coherence, phase response, and adjustability have been exceptional. There is no excuse for anything to sound off, because all the tools are at the level of the high standards of musical theatre”.
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Conclusion
On the 30th anniversary of the film's release and commemorating 18 years since the worldwide premiere of the musical in Sydney, Priscilla, Queen of the Desert arrived at the Tívoli Theatre in Barcelona with a successful season of performances. The reception could not have been more positive: the show captivated the audience with its vibrant staging, an overflowing energy, and a sound experience that immersed attendees in an unforgettable musical journey.
With the coherence, phase response, frequency response, and adjustment tools offered by the ARA series, there is no excuse for anything to sound off. It is at a quality level that will set a standard in the industry, concludes Briski.
The response from the audience and the management at SOM Produce was unanimous: every performance was experienced with enthusiasm and left spectators amazed and delighted. The show not only met expectations, but also reaffirmed its status as one of the great international musicals.
