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The stage was round and in the middle of the room. The sound board was on one end of the floor, maybe the light board on the other, and the stage direction boards were on the side between the stage and the wall. The stage was at about eye level, and there were two stairways that led up to near the middle of the stage from under it.
In the middle of the stage was a square area which was a lift. It was used to convey people or equipment up to or down from the stage. During the second song (the first one with the entire band), the drum riser was on it, and it was inside a little house shaped tent thing. After the song, the roadies - I mean stage crew (in bright orange jumpsuits) came out to remove the tent from the drum kit. They laid the pieces on the floor beside it and left. Then they rolled the drum riser out toward the edge of the stage. After the song was over, they came back out, piled the pieces on the lift, and lowered them into the floor. Then they removed them and sent the lift back up to stage level. This took until about half way through that song. For me, sitting in the upper level, the below-stage activity was rather distracting.
Looking with binoculars at the stage, I could see a line on the stage, which went in a circle. It looked like the outer rim of the stage was meant to rotate. I didn't see how that could happen, though, because the keyboard stands and guitar pedal rigs were all on this outer rim, and the cables ran across the stage a little ways toward the middle. A big "duh" hit me a little while later, when the crew rolled everyone's rigs towards the middle, leaving that outer area clear. Peter began walking slowly in place. Pretty soon he picked up reverse momentum and was walking forward, but moving backwrds around the stage.
One of the highlights was "Mercy Street." Melanie (the backing singer), got into a small wooden boat, which seemed to sail around a sea of swirling blue and green waves - great lighting effect.
Another higlight was "Solsbury Hill." They again spun the stage, and Peter rode a bicycle around it, first against the rotation, and then with it. He weaved in and out among the band members. I'm pretty sure I've never seen anyone ride a bicycle onstage at a concert.
The light rigging was over the stage, of course, and there was a lot of equipment up there - all the sound gear - amps and such - were up there. And there were no monitors onstage, that I could see.
From the rigging hung a round platform. There were railings around it, and Peter ended up going up there for "Barry Williams Show." He had a camera on a tripod, and filmed the bandmembers and the audience, which were projected onto the curtain behind him. The curtain was cylindrical, inside the ring of the platform. There were lights underneath the platform, and raised and lowered thoughout the show for various effects.
Inside the cylindrical curtain were various inflatable objects. The first was a white clamshell looking thing that lowered down over Peter's head for "My Head Feels Like This." It reminded me of a while Audrey II. It was then used as a backdrop for various projected video images. Later the clamshell part was lifted off, leaving a sphere, which again was used a video screen.
After a while of that, the grey cover was removed from the ball, and it was revealed to be a giant, transparent, inflatable "hamster ball," which Peter climbed into and rolled and bounced around the stage. Very cool. He apparently has had a lot of practice in it, because he could steer it very well. He kept it on the stage, and didn't run into anyone or anything. I half expected him to knock over some drums with it.
The advantage to being in the nosebleed seats was that we could see just about everything. I apreciate being able to see all of the musicians at one time. If I were on the floor, some of them would be hidden behind others, at times. Unfortunately, there were things we couldn't see, like the light display on the underside of the platform. We could see the patterns of lights on the stage itself, like the "waves" during "Mercy Street." I'd say that being down on the floor would be the better place to sit, though. Optimal would be on the sides, a few rows up.
In the middle of the stage was a square area which was a lift. It was used to convey people or equipment up to or down from the stage. During the second song (the first one with the entire band), the drum riser was on it, and it was inside a little house shaped tent thing. After the song, the roadies - I mean stage crew (in bright orange jumpsuits) came out to remove the tent from the drum kit. They laid the pieces on the floor beside it and left. Then they rolled the drum riser out toward the edge of the stage. After the song was over, they came back out, piled the pieces on the lift, and lowered them into the floor. Then they removed them and sent the lift back up to stage level. This took until about half way through that song. For me, sitting in the upper level, the below-stage activity was rather distracting.
Looking with binoculars at the stage, I could see a line on the stage, which went in a circle. It looked like the outer rim of the stage was meant to rotate. I didn't see how that could happen, though, because the keyboard stands and guitar pedal rigs were all on this outer rim, and the cables ran across the stage a little ways toward the middle. A big "duh" hit me a little while later, when the crew rolled everyone's rigs towards the middle, leaving that outer area clear. Peter began walking slowly in place. Pretty soon he picked up reverse momentum and was walking forward, but moving backwrds around the stage.
One of the highlights was "Mercy Street." Melanie (the backing singer), got into a small wooden boat, which seemed to sail around a sea of swirling blue and green waves - great lighting effect.
Another higlight was "Solsbury Hill." They again spun the stage, and Peter rode a bicycle around it, first against the rotation, and then with it. He weaved in and out among the band members. I'm pretty sure I've never seen anyone ride a bicycle onstage at a concert.
The light rigging was over the stage, of course, and there was a lot of equipment up there - all the sound gear - amps and such - were up there. And there were no monitors onstage, that I could see.
From the rigging hung a round platform. There were railings around it, and Peter ended up going up there for "Barry Williams Show." He had a camera on a tripod, and filmed the bandmembers and the audience, which were projected onto the curtain behind him. The curtain was cylindrical, inside the ring of the platform. There were lights underneath the platform, and raised and lowered thoughout the show for various effects.
Inside the cylindrical curtain were various inflatable objects. The first was a white clamshell looking thing that lowered down over Peter's head for "My Head Feels Like This." It reminded me of a while Audrey II. It was then used as a backdrop for various projected video images. Later the clamshell part was lifted off, leaving a sphere, which again was used a video screen.
After a while of that, the grey cover was removed from the ball, and it was revealed to be a giant, transparent, inflatable "hamster ball," which Peter climbed into and rolled and bounced around the stage. Very cool. He apparently has had a lot of practice in it, because he could steer it very well. He kept it on the stage, and didn't run into anyone or anything. I half expected him to knock over some drums with it.
The advantage to being in the nosebleed seats was that we could see just about everything. I apreciate being able to see all of the musicians at one time. If I were on the floor, some of them would be hidden behind others, at times. Unfortunately, there were things we couldn't see, like the light display on the underside of the platform. We could see the patterns of lights on the stage itself, like the "waves" during "Mercy Street." I'd say that being down on the floor would be the better place to sit, though. Optimal would be on the sides, a few rows up.
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no subject
Date: 2002-11-14 11:50 am (UTC)From:no subject
Date: 2002-11-14 01:56 pm (UTC)From:Say, when did you start winking? Is that new, or had I never noticed?
no subject
Date: 2002-11-16 02:14 am (UTC)From:8~)
;~)
8~)
no subject
Date: 2002-11-17 09:37 pm (UTC)From:no subject
Date: 2002-11-18 12:14 am (UTC)From:no subject
Date: 2002-11-14 12:30 pm (UTC)From:no subject
Date: 2002-11-14 01:54 pm (UTC)From:Re:
Date: 2002-11-14 01:57 pm (UTC)From:no subject
Date: 2002-11-14 04:03 pm (UTC)From:Re:
Date: 2002-11-16 12:56 pm (UTC)From:no subject
Date: 2002-11-14 10:24 pm (UTC)From:no subject
Date: 2002-11-15 06:59 pm (UTC)From:Re:
Date: 2002-11-15 07:43 pm (UTC)From:no subject
Date: 2002-11-15 08:09 pm (UTC)From:And part three just went up.
no subject
Date: 2002-11-26 07:48 am (UTC)From:I'm glad you noted the musicians' names, because I didn't know them. That's cool that you had binoculars with you too - good thinking.
no subject
Date: 2002-11-26 04:32 pm (UTC)From:That's probably the first show I've ever taken the binocs too. I'm sure glad I did.
I knew the names of the guitarist and bassist (Tony!!). Other than that, I remember only because I bought the program. :-)
Re:
Date: 2002-11-26 09:15 pm (UTC)From: