Bryan Hartley Adds New Twist to Trans-Siberian Orchestra Show with CHAUVET Professional STRIKE Array 2C

	Another first in the history of TSO this year, was the appearance of "rock n roll audience light," in the form of CHAUVET Professional STRIKE Array 2C blinders, which, like the rest of the lighting rig, were supplied by PRG.

"How many people have been to a TSO show before?" A member of the band asked the audience as the Trans-Siberian Orchestra got ready to kick off their Winter Tour Ghost of Christmas Eve at Little Caesar's Arena on December 27. Hands waved eagerly throughout the big venue.

Scenes like this were repeated at each of the 64 cities across North America where the Trans-Siberian Orchestra performed between November 13 and December 30. Audiences return again and again, some since TSO began in 1996, to enjoy the captivating narratives and stunning visuals. Production and lighting designer, Bryan Hartley, has had more than a little to do with that.

Hartley has been involved in TSO from the very beginning. He is constantly reinventing the show's visuals, combining lighting, video, pyro, SFX and scenic elements in new and original ways to create a sense of wonder and surprise year after year.

This year was no exception. Gone were the large scenic pieces from last winter's production. In their place were three massive 75% blow-through video walls. Directing light through those walls and coordinating it with video images of light-emitting fixtures, Hartley gave the show a vibrant new look for 2025.

The stage itself also underwent a transition this year, for the first time since the start of TSO. As part of the new look, Hartley repositioned the keyboard players to the side by the drummers. He also moved the singers to the wings, leaving the downstage area open for the musicians.

Another first in the history of TSO this year, was the appearance of "rock n roll audience light," in the form of CHAUVET Professional STRIKE Array 2C blinders, which, like the rest of the lighting rig, were supplied by PRG.

Hartley said he never used typical rock blinders before in a TSO design, concerned that they might be too bright for the holiday show's audience, but looking back, he notes that the looks created with the STRIKE fixtures were "a big hit" this year.

Flown on vertical and horizontal truss, the 96 STRIKE Array 2C fixtures (48 on each of TSO's two touring rigs) were pointed straight at the audience. "I put them out in the open where everyone could see them the whole time," Hartley says of the blinders. "I loved these fixtures!"

Hartley ran his STRIKE Array 2C blinders at 27%, and when strobing them, used only white. This made it easier on the audience's eyes. As an added benefit, at this level of power the fixtures created what Hartley calls "a nice color glow that looked beautiful."

Aside from the blow-through walls, the reconfigured stage and the STRIKE Array 2C fixtures, another big new twist at this year's show took the production to new heights, quite literally, as Hartley incorporated drones in his design for the first time. Small white drones with bright lights instantly captured attention as they took off from the back of the arena and flew over the audience.

"I had that the idea of the drones in my head early on," says Hartley. "To see the crowd's reaction to them was mind-blowing for me."

Hartley is happy that one thing has never changed at TSO -- the level of teamwork. "I am privileged to work with some great people, including our tour director Elliot Saltzman and Michael Keller, the lighting director for my west coast show. I'm also very grateful for Adam Lind and Kenny Kaplan letting me design this show every year. It never stops being fun!"