Production Reviews

The original sound design by Tony Meola has been updated to include new loudspeakers and processing from Tony’s preferred manufacturer, Meyer Sound

This meant there was effectively 30 concerts worth of equipment in play, with only one of them staying set up and patched.

“L-ISA spatial audio gives us the tools we need to quickly and efficiently program a 360-degree experience that conveys the excitement and nuance of each musical moment in the show,”

“Eight dancers utilise tracking ‘beacons’ during the Fire Dance to trail fire and smoke along the screens in real-time with the dancers.”

“If people can’t follow the dialogue, they lose attention, a situation compounded by Shakespearean English, which is not always easiest to process in the first place!”

“The live percussive soundtrack manages to seamlessly weave its way through a multitude of sonic textures, mirroring the transformation and evolution of the choreography.”

“It’s a really good fixture to use for live music. They move quickly, and they’re still quite small, which helps direct them in a more precise manner than some of the other bigger wash units will allow in such a low-ceiling room.”

“Outside of the Olympic and Commonwealth games, this is the biggest production in Australian sporting history,”

“It was a really important part of the development of this show that we provided artists with the opportunity to expand their practice and move into other spaces, and that includes digital art.”

“Visitors can be connected to and reflect on the cosmic rhythms and cycles that transform the seasons.”