Home to Australia’s iconic Sydney Theatre Company,the Wharf in Walsh Bay has been in the news a lot oflate, largely due to the Greening the Wharf program,which aims to reduce the theatre’s carbon footprint byas much as 70%.

Established by co-artistic directors Cate Blanchettand Andrew Upton and three years in the planning,Greening the Wharf entered the implementation phaselate last year. It is a demonstration of how simplechanges can increase the sustainability of buildings;even older, established and heritage-listed properties,which have long been considered more difficult toaddress than new developments.

While the major media focus has been on the instal-lation of the second-largest capacity rooftop solar ener-gy system in Australia and the introduction of a compre-hensive rainwater harvest, storage, and reticulation sys-tem, Greening the Wharf extends company-wide and

asks that every aspect of the theatre’s operational andproduction decision-making be considered in terms ofenvironmental impact reduction.

As head of lighting at STC, Graham Henstock wascharged with exploring the viability of greener theatricalluminaire alternatives. Over a twelve-month period,Henstock researched and experimented with emerginglighting technologies before providing recommenda-tions. Part of his proposal was the installation of PhilipsSelecon’s PL1 LED luminaires.

“Of the fixtures I saw during my research, the PL1sstood out as particularly appropriate for use in a theatri-cal setting. Specifically, they combine a significantlyhigher level of output with the flexibility of focus andcontrol that we require at the highest level of profes-sional theatre,” says Henstock.

Renowned for issues with color shift when dimming,LED fittings have hereto been regarded with skepticism

INDUSTRY NEWS

Philips Entertainment andSydney Theatre CompanyTeam Up to Go Green

SHoW DMXTransceivers are covered byU.S. Patent # 7,432,803 and other patents pending.

SHoW DMX®

IS EVERYWHERE

Let our experienced team help youplan your next production or installation.

Contact us at 201-549-1160 (US) or+44 (0)20 8949 5051 (Europe) or visit

us at www.citytheatrical.com.

From Broadway to London’s West End, to majorconcerts like the U2 360˚ Tour, to architecturalinstallations all around the world, lightingprofessionals trust City Theatrical’s SHoW DMX.

SHoW DMXTransceivers are covered byU.S. Patent # 7,432,803 and other patents pending.

plaplaCC

++44

From Broadway to London’ssconcerts like the U2 360˚ To0 Toinstallations all around the wund the wprofessionals trust City Theap als trust City Thea

CE

L

EBRATING 25 YEAR

S

OF

UN

IQ

UEL IGH T I N G ACC E

SSOR

IES

1986 2011

CIRCLE READER SERVICE 9

SHoW DMX Transceivers are covered byU.S. Patent # 7,432,803 and other patents pending.

Copyright Lighting&Sound America July 2011 http://www.lightingandsoundamerica.com/LSA.html

by lighting professionals, particularly in theatre andgallery applications, where color, value, and saturationare all critical elements of a design. The fully tunablehigh-output LED light engine of the Philips Selecon PL1supports color temperatures from 3,000K to 5,600K andfull RGBW color mixing, with a maximum output similar

to that of a 500W Fresnel or PC. .“I have been happy with the performance of the

PL1s and have enjoyed experimenting with how theycan be incorporated into theatrical productions,” saysHenstock. “I have been pleasantly surprised by theirusability and impressed by both the smooth dimming

TIGER TOUCHFlight Ready!

PEARL EXPERT TOUCHMassive Live Access!

Avolites Head Office: T: +44 (0) 208 965 8522 E: avosales@avolites.com W: www.avolites.com

Distribution USA: T: (518) 251 3302 E: sales@creativestagelighting.com W: www.creativestagelighting.com

TOUCH THEFUTURE

Live and powerful Cue List control, responsive wide touchscreen, 12 DMX lines, Macros, Fixture Exchange, elegantand informative displays, onboard Stage Visualizer.

Powerful TITAN Core offers Diamond 4 functionality whileretaining the friendly Pearl interface we know and love!

THE UTIMATE HYBRIDS

CIRCLE READER SERVICE 10

The Sydney Theatre Company production of In the Next Room, or the vibrator play.

CREATIVE STAGE LIGHTINGPO Box 567, North Creek, NY 12853

www.creativestagelighting.com(518) 251-3302

Reach For The SkyWithout Pulling A Muscle

VMB towerlifts make line array setupssimple and easy. See them in action at:http://creativestagelighting.com/vmb

Easily LiftLine Array

CompactStorage

High-StrengthExtrudedAluminumProfile

ALS SecuritySystem For Safety

Distributed in North America exclusively byCreative Stage Lighting. Call for your nearest dealer.

INDUSTRY NEWS

curve and the level of color saturation that can beachieved as part of the color-mixing process.” .

The perceived restrictions of LED lamp and luminairetechnology in a theatrical setting are not limited to coloralone. Henstock nominates some other issues that canarise: “The PL1 is one of the very few fixtures I saw thatmanaged to avoid the majority of problems that arecommon to LED fixtures. They produce a single, crispshadow, which meant both an absence of chroma-shadowing—and their barn-doors actually work! Thereis an impressive evenness to their field of light.”

While color and output are clearly concerns, noisegeneration and size are equally important considera-tions in hushed theatrical settings, where new lumi-naires need to co-exist with previously-installed equip-ment,” says Henstock. “The onboard fan of the PL1 ismercifully quiet. In addition, the unit is relatively com-pact, which means we had no trouble incorporatinganything into our existing lighting rigs.”

Greening the Wharf is no mere numbers game; it ismore a philosophy than a simple calculation of energyreduction. That being said, the numbers are impressive,as it is estimated that the Wharf will realize substantialannual savings under the program; over 1.5ML of water,624,000kWh of energy, and 555 tons of CO2 emissionseach year. Achieving these goals requires a concertedeffort across the board.

According to Henstock, this represents a shift in day-to-day thinking, as opposed to a series of purchasedecisions, “Rather than being satisfied with reachingspecific targets, I approached Greening the Wharf withthe aim of reducing power usage as much as possible,whenever possible” he says. “This is not a once-offevent, but an ongoing approach to the way we createtheatre. As such, it involves a constant assessment ofhow the company is utilizing power and whether or notthe same effect can be achieved in a less power-inten-sive manner. As a flexible, low wattage-lighting fixture,the PL1 is one of the tools that help me reduce thecompany’s power usage.”

The creation of theatre requires an element ofmagicianship; to fabricate a world-within-a-world, totransport an audience to another place or time. Theresulting illusion is the handiwork of the creativeteam; sets, sound, and lighting all combine to con-struct an ambience unique to every production andto do so with an eye on environmental impact is arelatively new approach. Greening the Wharf extendsbeyond the company’s immediate environment andpermanent staff, as productions are often staged atother Sydney venues, or tour to other regions.

In the case of STC’s run of In the Next Room, or thevibrator play, being staged in the Drama Theatre at theSydney Opera House then touring, lighting designerHartley T A Kemp outlines his view on striking the bal-ance between an aesthetically pleasing production andC

IRC

LE

RE

AD

ER

SE

RV

ICE

11

reduced energy use.“I think that we all have to be responsible about

energy usage,” says Kemp. “STC offers guidelines todesigners for productions at the Wharf in terms ofkilowatt usage, but on the basis that these are guide-lines, rather than inflexible restrictions and I thinkthat is the right balance. It is important to serve theproduction well. Art comes at a cost, so seeking toreduce energy use is important, and there are manyways in which this can be done without compromis-ing the end result.”

In the Next Room, or the vibrator play is set in thelate 19th century, in the home of a doctor pioneeringthe use of “electrical therapy” or vibrators, to treathysteria. Kemp explains the inspiration for hisdesign: “Electricity, electric light, candlelight, andnatural light run through the core of the play, whichexplores the links between the power of electricityand the power of love. It’s been a fantastic piece tolight, as there is so much material in the text to workwith and expand on in bringing the production to life.The set designer, Tracy Grant Lord, has created abrilliant set filled with electrical lights and gadgets—there are practical lights and light switches every-where—while the actors turn lights on and offthroughout the piece. Emotion and electricity have

CIR

CLE

RE

AD

ER

SE

RV

ICE

14

CIR

CLE

RE

AD

ER

SE

RV

ICE

13

www.lightingandsoundamerica.com • July 2011 • 17

really inspired the lighting design.“Graham introduced me to the

PL1s and I’m really pleased to havebeen able to use them,” adds Hartley.“Most of the rig we are using for Inthe Next Room comes from the the-atres hosting the show, which in itselfhelps reduce the carbon footprint ofthe production. Additional equipmentcomes from STC’s central pool offloating stock, so the PL1s and otherspecialist units will tour. “I’ve foundthe PL1s to be both versatile andinvaluable in bringing this show tolife. The ability to replicate nearly anycolor in the swatch book, to createcolors by free mixing, and to fadebetween colors seamlessly makes abig difference to the production.”

As an international lightingdesigner and theatre consultant,Hartley’s experience extends fromBroadway to London’s West Endand in theatres and arts venuesacross Europe, North America andAustralasia. It’s fair to say he’sworked with just about every the-atrical luminaire available. “I willalways try to find the best tool forthe job, regardless of who makesit,” he says. “The PL1s are the firstLED fixture that I have found thatcan replicate much of the work of aFresnel or PC. I’d love to see themin more venues.”

In a world where “green-wash-ing” is becoming the norm and thepublic tires of corporations strivingto prove their green credentials,STC has implemented a program

for change. A subtle shift in thinkingbrings an awareness of environmen-tal impact to the business of creat-ing entertainment.

Henstock says he made the logi-cal choice when selecting PhilipsSelecon as the preferred luminairesupplier, “I was drawn to PhilipsSelecon’s products because Icould see that the company waspaying considerable attention tothe environmental impact of theirbusiness. Their focus on incorpo-rating recyclable materials intotheir fixtures, as well as their com-mitment to developing luminairesthat utilized lower-wattage lightsources, demonstrates a philoso-phy that nicely complements thatof STC’s ambitions.”

OUT NOW!

THREE NEWPRODUCTSTHAT WILLCHANGE STAGELIGHTINGIN 2011SHARPYALPHA PROFILE 700SHOTLIGHT WASH

PRG DISTRIBUTION8607 Ambassador Row, Suite 170BDallas, TX 75247Phone 214-819-3200 - Fax 702-942-4607E-mail info-NA@prgdistribution.com

A.C.T. LIGHTINGUSA – English Speaking CanadaA.C.T. Lighting, Inc.5308 Derry Avenue, Unit R - Agoura Hills, CA910301Phone 818 707-0884 - Fax 818 707-0512East CoastA.C.T. Lighting East122 John Street – Hackensack, NJ 07601Phone: 201 996-0884 – Fax: 201 996-0811www.actlighting.com

CIR

CLE

RE

AD

ER

SE

RV

ICE

16

CIR

CLE

RE

AD

ER

SE

RV

ICE

54

Graham Henstock

INDUSTRY NEWS

www.coolux-us.com 818-597-9898Scalable Video SolutionsInteractive Show Control

This month in LSA:Spot Focus, page 34Celine Dion, page 38