Leading UK rental company HSL is supplying lighting equipment – including Robe and Vari*Lite moving lights and an MA Lighting grandMA console - to the current Bill Kenwright UK touring production of “Cabaret”. 

The lighting design for this version of the hugely popular musical, set on the cusp of the Nazi ascendency to power in 1930’s Berlin, was created by Jean Kalman.

He is renowned for his mastery at crafting highly realistic and atmospheric  moods and ambiences with light.

Set design is by Katrina Lindsay, and the show is directed by Rufus Norris. HSL’s project manager is Mike Oates, and the show lighting is being operated by Chief LX Tania Henry who is also supervising the re-lights at each venue on it’s weekly itinerary.

Oates comments, “As with all Kenwright shows, there’s much emphasis on production values, and the ability to provide a package that includes fast, efficient and consistent service and support throughout”. 

Kalman’s design captures the juxtaposition of hedonistic party spirit and the impending doom gripping Germany in 1931 perfectly.

His application of light also produces an authentic period feel that you might expect if you stepped back in time to the seedy Kit Kat club. 

The show utilises 6 LX bars in each theatre, three of which are dedicated to moving lights. These are 10 Vari*Lite V*L1000 Arcs and 13 Robe ColorWash 1200E ATs overhead in th e main rig, plus 2 Martin Professional MAC 2K profiles, in balcony positions to provide FOH specials.

The MACs are used to light the large ‘Willkommen’ sign at the top and end of the show. 

It’s a dance-heavy show, so 3 side booms stage left and right supply a good selection of cross lighting, each loaded with 3 PAR 64s and 3 Source Four 36 degree profiles. 

The bridge structure which makes up the three second storey rooms above the Kit Kat club action is illuminated with fixtures on 2 additional upstage booms, each with 8 PAR and Source Four fixtures, taking care of the room interiors.

The structure itself has fill-in provided by MR16 ‘Birdies’, the bottom level lit from the air and the top level are lit with Birdies located at floor level in the rooms. 

Further upstage are 2 bars of Thomas 4-cell cycs, 5 per bar – used to light the cyc, which is also ground lit by nine 4-cell Codas.

The sixth LX bar is used for 3 pendant lights which fly in and out. The Kit Kat Club pros arch is lit with 2 PARs, and there are another 2 Source Fours downstage each side for front fill It’s a compact sized rig, but each light is worked hard and purposefully for a myriad of multiple tasks.

“It’s an interesting and very intelligently through-out design that w orks brilliantly for a touring show where it’s simply not practical to carry a large rig” comments Mike Oates. 

A series of pigmy bulbs outlining the Kabaret sign and assorted other set pieces including the Willkommen sign are also linked into the MA light, which Henry uses to run all the lights and 2 smoke machines.  

The console is a firm favourite on HSL tours of this genre, and the show was transferred over to the light after initial programming on a grandMA full size.

It’s the first time Henry used the desk -“It’s logical, methodical and easy to use” she reports.

S he finds facilities like the BPM button very useful for things like sync’ing a pigmy bulb chase to the music – which is played live each night.