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This summer, the National Ballet of Maresille literally set the Vieux-Port harbor on fire, transforming the space into a dance stage for the occasion. In this "concert" configuration—and in front of an audience of 23,000 people—Éric Wurtz's lighting design was controlled by ETC’s Eos Apex console, provided by Texen.
Under the direction of the collective of choreographers (LA)HORDE, Marseille Ballet dancers gave a unique performance of "Celebrations," a brilliant medley of choreographic pieces by Lucinda Childs, Lasseindra, Oona Doherty, and by the collective (LA)HORDE itself.
Located in front of the town hall, the 21-meter stage floated on the water throughout “L'Été Marseillais,” with a rich and dynamic dance program in the heart of the city. The backdrop of the performance featured boats at dock as well as the awe-inspiring Notre-Dame de la Garde basilica.
The production posed both an artistic and technical challenge for Lighting Designer Éric Wurtz, Programmer Gaspard Juan, and for the technical teams of Concept Group. The city’s public lighting can’t be dimmed, so the design team had to consider the light pollution from that.
“Vieux-Port is a magical place, but this configuration required some thought,” comments Wurtz. “We had to rethink the lighting for each piece, taking into account the diminishing natural light, the absence of the traditional “black box,” and the audience’s viewing angle on the dancers, which is very different from what we usually have.” The height of the stage was indeed one of the most challenging elements, because a large part of the audience couldn’t see the dancers’ feet. The composition of the light was especially crucial for crafting the visual story.
The production team only had two evenings in the space to prepare the show. The first night was dedicated to load-in and programming. The second night was a dress rehearsal with the dancers, lined up with the same time the show would happen.
With such little time to program in the space, all the capabilities of the Eos Apex supplied by Texen made a world of difference. Wurtz relied on Juan’s Eos experience to program the show as efficiently as possible.
"The Eos Apex 10 saves valuable time when programming thanks to its ergonomic interface and advanced features," explains Juan. "One of the most important features was the direct selects, the customizable screen keys. I was able to put all my shortcuts there. On the right, I had my macros for preset records, color palettes, etc. On the left row. I put the scene names to quickly browse the cue list."
Juan already knows Eos well since he uses a Gio @5 with the Marseille Ballet and personally owns an ETCnomad, the USB key that opens 2 DMX universes on the free Eos software. "I sometimes use my personal Nomad as a backup and it's very good. For the Ballet, we recently switched to a Gio@5 because we were previously on the Eos Element 2 console."
This is one of the great strengths of Eos software. It’s designed so users can easily scale up their skills from the most basic and affordable consoles, to the complexity of the flagship Eos Apex console.
"With Apex consoles, we're clearly moving to another level. I really like the six encoder wheels around the multi-touch screen, like on the legacy Eos Ti. It allows me to always have access to Pan and Tilt,” continues Juan. "The Apex also adds nine new mini encoders. The user benefits from permanent, complete control in this area.”
Despite the departure from the company's usual kit, Wurtz and Juan were able to adapt and reconfigure the six acts to create a luminous atmosphere that matched the artistic ambition of the (LA)HORDE collective, demonstrating once again the flexibility and power of ETC technology in the most demanding stage environments.
Details about the work:
“Celebration” is structured in 6 acts, each bringing its own aesthetic and energy:
- “Concerto” – A piece by Lucinda Childs, despite the still present daylight, captivated with its intensity and the precision of its lighting effects.
- “Mood” – A choreography by Lasseindra Ninja, a tribute to the ballroom and voguing movement, mixing excess, sexuality, and a daring choreography, punctuated by rhythmic and precise lighting effects, sent by OSC.
- “Lazarus” – Choreographed by Oona Doherty, featuring 23 dancers dressed in white, designed with a refined and powerful composition.
- “To Da Bone” – A work by the (LA)HORDE collective. Coming from the Jumpstyle movement, this dance marked by the influence of the Internet brings a new dynamic to the show, starting with beams pointed towards the sky that gradually descend on the stage structure, which itself becomes an actor in the show.
- “Cultes” – This film, created by the collective (LA)HORDE and accompanied by dance on stage, offers a complex look. The images intertwine sensuality and fraternity through dancing bodies at large musical gatherings, but also show excess, with scenes of drunkenness and litter left behind once the crowd has dispersed.
- “Age of Content” – This final tableau offered a dazzling finale, with light shows incorporating flames and fireworks, recreating the energy of a rock concert in a seaside setting.
