Brilliant Stages continues its long-standing relationship with top showman Robbie Williams and the ever-inventive Ray Winkler and Ric Lipson of Stufish by its collaboration on the design and fabrication of the stage set for Williams’ Swing Both Ways tour. The dazzling arena tour has seen Williams promote his new album across Europe from April to July this year, culminating in four dates at London’s O2 arena, before it travels to Australia in September 2014.
The Stufish stage is lavish and multi-layered, transforming in appearance from an Art-Deco hotel, to a 20’s style club and a luxurious ocean liner, and is surrounded by a massive, curved Austrian drape, all of which set the tone for Williams’ sumptuous Swing Era extravaganza and big band sounds.
Brilliant Stages’ Tony Bowern and its highly-talented CAD team were instrumental in bringing Stufish’s vision to fruition, providing the multiple staging elements of this complex, multi-functional performance area.
Fundamental to the set is a 1.8 metre high, 18.3 metre x 14.7 metre main stage with a deeply curved front edge and two additional levels – a mid-deck and an upper-deck – rising from it. These are built using over three hundred 2.4 metre x 1 metre decks supported on custom frame assemblies which use poles to transfer the extra weight of the upper layers to the layers below. The whole stage is built on a rolling frame with heavy-duty castors that support the extra weight of the layers above and allow the framework to be rolled into place for faster setup.
“We were mindful of creating a structure that would give the support required without looking ugly or showing too much framework,’ says Brilliant Stages’ lead CAD designer for the project, Ollie Laight. “The result is a clean, minimalist look which allows the rear video screens to be seen through them.’
Preliminary and final plans for all load-bearing frames and support structure were passed to Brilliant Stages Structural Engineer, Malcolm Richards, who advised on structural integrity and gave clearance before construction began.
The main stage front edge includes a step-down shelf and acoustic mesh, which accommodates space for PA sub-speakers and, like the mid- and upper-levels, fixing points for lighting. The stage is surmounted by a 14.7 metre x 9.59 metre lower base that follows the concentric outline of the main stage and is raised by 15 centimetres using insert legs.
A manually operated star trap is integrated into the main stage framework with built-in dolly wheels that allow it to be rolled into place and left in situ for the duration of the show.
Each deck level includes a curved handrail at the front edge and is connected by sweeping ornate performer treads on stage whilst linked backstage by rear access steps. These are a low profile solution of minimal construction to maximise the visual aesthetics and are easy to set and strike.
Upper and lower “cabins’ are formed between the three layers using scenic cladding suitable for a quick removal and change between acts. These are finished with additional “ship’ and “Art Deco hotel’ style quick-release fascia panels for the backline, lower and mid deck sections.
Back down at stage level, Brilliant Stages designed and built stage-left and stage-right screamers, with access steps, on cantilever frames and two 300 millimetre high tech decks. Like the main stage, these are on a system of rolling insert legs for easy deployment.
A 1.2 metre high elliptical catwalk extends 18 metres from the main stage into the audience to a B-stage. Brilliant Stages constructed the catwalk on rolling leg assemblies and built the B-Stage on custom-designed dollies with decks that fold out to form a platform at the correct height for the B-stage.
Lighting Designer, Mark Cunniffe, planned to use uplighting around the front of the main stage, B-stage and catwalk to illuminate the performers and run content. Over 300 individually programmable lighting units were specified so, to make it easier for the crew whilst retaining the desired look, Brilliant fitted the fixtures into a channel which was then pinned to the side of the deck for quick and easy connection.
The catwalk is accessed from the main stage via two bridges complete with access steps. As part of the audience stands inside the catwalk’s span, Brilliant incorporated some cable management solutions to ensure no cables were within reach of the public.
The finishing touches to the stage were added by scenic artist, Jacqui Pyle, who designed a silver and gold splatter finish over the treads, main stage, mid and upper decks. The whole stage was then given a protective top coat which was tested by a tap dancer prior to being given clearance. Masking drapes give the finishing touches to the front of the stage.
Brilliant Stages was also responsible for the scenic elements and “gags’ on stage, collaborating with Pyle to create moulded GRP ventilation funnels for the “ocean liner’, which appear as period props on the upper deck and main stage. These are removed and stowed when not in use.
Brilliant Stages worked with Air Artists to provide the ship’s crowning glory of two large inflatable funnels which are supplied complete with fan and cart. “The funnels have to appear quickly from nowhere during the scene change so we decided that an inflatable was the fastest way to achieve this as well as solving the challenge of how to stow them,’ says Laight. The funnels are inflated by the fan in 15 seconds and pack down into specially adapted sections of deck where they remain stored for transit. Aluminium frames with di-bond cladding slide into purpose-built slots that locate them around the funnels, adding rigidity and completing the look.
Above the stage, Brilliant Stages worked with drape manufacturers, J&C Joel, and control wizards, Kinesys, to supply the impressive 15 metre drop Austrian drape complete with winch mechanism and control. The drape is curved to echo the shape of the main stage and all structural designs and prototypes were submitted to Richards who approved the technical recommendations made by Brilliant’s Tony Bowern and Kinesys’s Andy Cave prior to manufacture.
The final, but by no means the least, visual aspect of the set are three “chandeliers’, each with three tiers of “crystals’ which hang above this visual confection. Brilliant Stages created each chandelier fascia from a VAC formed plastic panel which conceals an LED strip (supplied and fitted by the tour’s lighting supplier, Neg Earth) that illuminates it, and supplied it complete with truss fittings.
Forty-four shows later, the efficiency of the stage design and build has proven itself, says the tour’s Production Manager, Steve Iredale. “Having Rick Worsfold, the tour’s head carpenter, involved at the design phase with Brilliant proved invaluable, and his idea for the decking carts that formed the support structure for the B-stage was one of the inspired ideas for the stage construction.
