The Circus of Horrors returns with its most monumental illuminated show with those represented by EES

For the staging of the rock opera 'Apocalypse', 24 MegaPointe, 6 BMFL WashBeam, 24 Spider , 24 Pointe, 24 LEDBeam 150 y 24 ParFect 150 of Dress, as well as 18 VL3500 Wash FX y 18 VL3000 Wash de Vari-Lite y 2 Victor cannons by Robert Juliat.

Apocalypse, the fourth installment of Circus of Horrors, company that fuses musical theater, rock and the risk of the circus, has landed at the Caja Mágica in Madrid after its premiere in Valencia and before starting a long national and international tour.

On this occasion, circus rock opera show takes viewers to the last day before the Apocalypse, where they put aside their prejudices to immerse themselves in a day of no return and great fun.

It's the third job, after The Asylum y Cursed Cabaret, in which the lighting designer Juanjo Llorens participates in the Circus of Horrors as responsible for the lighting design. Suso Silva, company director and founder, and he has collaborated on several more shows, included Christmas at the Price, Ice Circus y Magic Circus.

What makes special Apocalypse Compared to the rest, it is the largest of them all.. The format of a circular tent and central court has given way to the Italian stage with a front stand., with an LED screen that acts as a 25-minute cyclorama.×8 metros.

This also means that the numbers are much more technical and spectacular., in volume of devices and visual grandeur. Added to this are live rock and roll and an extraordinary group of dancers, which makes it a macro show where music is mixed, dance and the circus.

The consideration that the functions require a complex technical assembly part has been Llorens' starting point to develop his lighting design., given that it has conditioned the choice and location of the luminaires when looking for angles and positions of spotlights that would allow their visual discourse to be told..

From there, Llorens has had to face the challenge of telling various types of language with a single luminous language: the world of dance, del rock and roll, circus and humor, and the clown's word.

For this project we have used 24 MegaPointe, 6 BMFL WashBeam, 24 Spider , 24 Pointe, 24 LEDBeam 150 y 24 ParFect 150 of Robe, 18 VL3500 Wash FX y 18 VL3000 Wash de Vari-Lite y 2 Victor cannons Robert Juliat, brands that are represented by Entertainment Equipment Supplies (EES). Besides, Smart Fussion has been the company in charge of supplying the equipment.

The rigging study has been carried out by Rafa González, technical director and partner of the Circus of Horrors, together with Smart Fusion, in which the needs of the circus functions have been defined, as well as the audiovisual and show lighting requirements.

As detailed by Llorens, after having located a square grid to cover the technical needs of the circus acts, have your height and space specifications, and calculate the forces exerted; A second independent grill has been sought that has allowed the luminaires to be located, trying to ensure that the movement of the anchors affects their material as little as possible., and the elements could coexist.

Upon verifying that the square structure was very small with respect to the stage, and taking advantage of the existing third independent structure to hang the LED screen, They have opened a new space generating a “U” shaped structure.

In it they have mounted some drops to lower the height of the light and use it as streets, giving volume to the choral and dance numbers, because the height of the light (of 14 meters approximately) made the stage empty.

To counteract this height, They have also placed other luminaires both on the floor and in different points of the set and heights that have created various work dynamics.: from a movement on the ground that acts forcefully on the smoke, diverting the attention of the viewer's eye towards the aerial numbers, even the magical moments of the show with its prisms, rotations and colors, without losing quality in the intensity and brightness of the light.

Among the reasons that have led him to opt for Robe equipment, Llorens highlighted “the versatility of the different models used”, from the ParFect zoom 150, to the Spikie Flower Effect also incorporated in the Spiider, being able to use the latter as a large wash and as an effects focus at the same time.

On the other hand, The Pointe and MegaPointe series have allowed you to generate gobo environments and position specials, without losing any shine in its trajectory. Finally, The BMFL has been used as a front light from long distances.. But, definitely, The great discovery for Llorens has been the LedBeam 150, “due to its powerful beam generated at the minimum angle, and its full angle wash bath”.