AUSTRALIA: For a company intent on redefining how contemporary audiences experience ballet, BIG Live Co is taking its production values firmly into its own hands. The rapidly expanding company has invested in its own lighting inventory as it continues to scale its touring ambitions across Australia and beyond, working closely with Show Technology Australia & New Zealand to assemble a versatile production toolkit tailored for modern theatrical staging.

Founded with the ambition of making ballet both accessible and electrifying for contemporary audiences, BIG Live blends classical artistry with the energy and spectacle of modern theatre. Its repertoire reflects that philosophy — ranging from traditional favourites such as The Nutcracker and Romeo and Juliet to darker theatrical productions like Dracula, and more recently, the glamour-infused staging of The Great Gatsby.

With a growing number of large-scale engagements and extended theatre runs now on its calendar, the company recognised the strategic value of owning core production equipment. According to Production Manager Locky Young, the shift was driven by evolving touring realities. “We knew that we were doing more and more shows in bare bones theatres, whereas previously we had prioritised theatres that had all in-house equipment,” he said. “We had a month down in the Princess Theatre in Melbourne last year, and we’ve got three weeks in Sydney Capitol Theatre with The Great Gatsby, and then we’ve got three weeks in Her Majesty’s Theatre in Melbourne to start the year.”

With a busy production schedule ahead, Young turned to Show Technology to identify suitable lighting solutions for the company’s growing technical needs. “We really wanted to go with a reputable brand, and the people that supply reputable brands,” he commented. “I’ve got a close relationship with Sam Walter, Show Technology Technical Sales Queensland. Initially, I was interested in the Ayrton Diablo because I wasn’t aware that the Stradale had been released. We found that many of the cities we went to and many of the venues we were in already had either Ayrton Diablos or Mistrals, and we really loved them.”

Once introduced to the Ayrton Stradale, however, the decision quickly shifted in favour of the newer fixture. “I think the fact that Ayrton kept the gobo stock consistent with the rest of the family is great, as a lot of our shows utilise Ayrton gobos already,” Young explained. “Having the 360⁰ pan and tilt is a fun feature that we may require one day in a show. It could be used in an effective manner, and our Artistic Director loves pushing the boundaries with every new show.”

Young also highlighted the creative flexibility provided by the fixture’s optical toolkit. “Having a dual Gobo wheel and an animation wheel is great,” he said. “And I especially like the dichroic colour filter. That creates an awesome effect, the glass gobo with the dichroic filter, and we’re utilising it to create a stunning sunset on the show. It offers more creative possibilities for our lighting designer.”

Within the staging of The Great Gatsby, fourteen Ayrton Stradale fixtures form a key part of the lighting design. Most are rigged overhead, while two units are positioned out front on the circle rail, performing multiple roles within the show. “These are used flexibly as both spots for the aerial artist feature in the show and, with their shutters, as curtain warmers pre- and post-show,” Young explained. “It means we don’t have to hang Fresnels out there as two Stradales have the punch and zoom to cover the curtains.”

Beyond moving lights, the company also expanded its rig with ShowPRO LED Profile VW500 units after a demonstration from Sam Walter revealed their strong output capabilities. “We are a more contemporary ballet company; we’re pushing the boundary with our shows; we need those deep reds and greens that punch hard for shows like The Great Gatsby and Dracula,” Young said. “With the ShowPRO LED Profile VW500, the pure output for the price point was hard to look past.”

Completing the investment is the addition of the MA Lighting grandMA3 compact console, aligning with the control platform the company has relied on since 2023. “Coming from a more rock and roll as opposed to theatre background, MA was where our old lighting designer and I felt most comfortable,” remarked Young. “And so, with our new lighting designer, Steven May, we’ve kept it on MA and committed to the hardware. Obviously, not every theatre has MA3, though I think more are moving toward it, so buying a console that was reliable as well as standalone meant the MA3 compact was the perfect choice for us.”

For BIG Live, the choice of the compact model also made practical touring sense. “The MA3 compact was the ideal model for us as we’re not busking rock and roll and don’t need additional faders,” Young added. “It also weighs under 32 kilos, so it is easy to fly with when required.”