For the North American tour of the musical The Great Gatsby, lighting designer Cory Pattak uses 10 ultra-low-profile COLORado Solo Edge 3 RGBWL linear LED fixtures from CHAUVET Professional, supplied by PRG and installed along the front edge of the stage.
These fixtures provide low-angle front lighting, helping to enhance the visual contrast between the production's glamorous aesthetic and the darker elements of its narrative.
The tour began on January 31 at the Hippodrome in Baltimore and will continue into next year. Pattak's lighting design reflects both the opulence of the Roaring Twenties and the darker aspects of F. Scott Fitzgerald's novel.
Everyone thinks about the parties in Gatsby, but the original novel is really telling a story about the dark side of the American dream. We contrast Gatsby's bright, luminous world with that of George and Myrtle Wilson and the Valley of Ashes. We also use darkness in the opening number of Act 2, 'Shady', Pattak explained.
From Broadway to the road
The Broadway production featured a comprehensive lighting system integrated into virtually every scenic element. To adapt the setup to the requirements of a touring production, the lighting rig had to be scaled down. However, the design team managed to preserve the original visual impact by concentrating a large number of fixtures on the overhead trusses and making full use of the available positions on the side towers.
The 10 COLORado Solo Edge 3 fixtures are installed along the downstage edge. These one-metre-long RGBWL linear fixtures perform several functions within the lighting design, providing illumination for the performers as well as accent lighting for scenic elements.
Pattak explained: "Sometimes they light the cast during big dance numbers; at other times, they provide uplighting for the scenic portals and other hard scenic elements. Since front lighting positions are very limited on a touring production, these fixtures are essential for achieving even illumination across the performers' faces. We have divided each fixture into four individually controllable cells, allowing us to fine-tune the light distribution with great precision and target specific performers or moments in the show as needed".
A technical solution for footlighting
The decision to use COLORado Solo Edge 3 fixtures stemmed from a technical challenge Pattak had encountered on a previous production. During the Spamalot tour, which did not feature a raised stage deck, the fixtures installed along the stage edge were too tall, obstructing the audience's view of the dancers' feet from certain seating positions.
Between the two productions, Pattak evaluated several low-profile lighting solutions before PRG, the lighting equipment supplier, arranged a demonstration of the COLORado Solo Edge 3. "I was immediately impressed by the Solo Edge", he said. "For starters, it has an extremely low profile, which was the main technical issue I needed to solve".
Standing just 7.6 cm tall, the fixture integrates seamlessly into the stage deck configuration without creating significant sightline obstructions for the audience. In addition to its compact dimensions, Pattak highlighted the fixture's high light output and integrated safety features.
It also delivers extraordinary light output; we hardly ever need to run it above 50% intensity. It features built-in safety markers that we operate at a low intensity to indicate the edge of the stage deck and help performers navigate the stage safely.
Another important aspect of its integration into the stage design is the concealed cabling and connectors. This configuration ensures a clean, unobtrusive installation, allowing the fixtures to blend seamlessly with the stage deck and flooring without compromising the production's overall visual aesthetic.
The combination of an ultra-low-profile design, high light output and independent control of four cells per fixture allows the COLORado Solo Edge 3 to provide both front lighting for performers and uplighting effects for scenic elements, optimising the number of fixtures required for a touring production.
The technical team
Cory Pattak's lighting design is supported by an experienced technical team, some of whose members have been involved with the musical since its initial out-of-town tryout at Paper Mill Playhouse.
The team includes Associate Lighting Designer Paul Vaillancourt, Assistant Lighting Designer Natali Arco, Lighting Programmer Scott Tusing, Production Electrician Robbie Virzera, Head Electrician Mike Anderson, and Assistant Electricians Jameson Bernhagen and Matthew Sallee.
Photo credits: © Evan Zimmerman for MurphyMade
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