Pierre E. Roy Blends Humor, Magic and CHAUVET Professional for Dave Gaudet's La Legende

	"For me, a lighting design needs to breathe," explains Roy. "But the space between the fixtures isn't just aesthetic -- it's essential."

In April, lighting designer Pierre E. Roy lit a sold-out performance of La Legende by comedian Dave Gaudet at the Place Bell in Laval, Quebec. Following a vision guided by what he describes as "making light rock," Roy animated his client's witty performance with a dynamic lighting design that feature plenty of ballyhoo moments accented by special effects and atmospherics. Helping him was a versatile rig supplied by Nord-Scene that featured 57 CHAUVET Professional fixtures.

Roy says this, when describing his show: "When you think of a rock show, you think of raw energy, music that vibrates through your body and lighting that hits hard. This show -- and let's be honest, was a visual slap in the face created with explosive colors, well-timed lighting breaks, and the balance between power and subtlety.

"This was actually a 'comedy show,' staring the high-energy Dave Gaudet -- a true American-style performance, featuring a bold visual concept, dynamic lighting, pyro, and a breathtaking stage direction by Christian Alary," continues Roy. "The lighting didn't just support the comedian's punchlines -- it transformed each moment into a living, visual tableau."

Speaking of his collaborator, Roy said, "Oh yes, Christian Alary. He's the visionary, the creative brain and the stage director behind the show. He came over to my place to pitch me on his wild ideas, and I brought them to life through lighting. This guy is a top-tier show creator, and I truly believe Quebec is about to discover a major talent in him."

These descriptions pretty much take care of the "rock show" part of the evening's proceedings, as for the "magic" involved, Roy did something that every great magician has been known to do -- he played tricks on the audience's perceptions, "fooling" them into seeing something that wasn't quite there.

"I had 22 CHAUVET Professional Maverick MK2 Profiles on stage, spread throughout the rig and across the front, plus 12 more units at front-of-house," he says. "The fixtures are very smart and striking. By the time we set them up and got them projecting aerial effects with gobos, it created the illusion of having 200 profiles, not 34 -- true magic!"

The secret to this "trick," says Roy lay in the spacing of the fixtures. His design was characterized by some intriguing use of shadows and dark space, particularly over center stage. This configuration of blackness created an edgy air that fit the satirical performance perfectly. At the same time, however, it also served a practical purpose.

"For me, a lighting design needs to breathe," explains Roy. "But the space between the fixtures isn't just aesthetic -- it's essential. I've worked with tight budgets, so I've learned how to do a lot with very little. I often see designs crammed with hundreds of fixtures all packed together -- it's pretty, but it feels suffocating. And hey, good for them -- they've got the budget, but the smaller configuration in this show, helped make it look as if we had way more Maverick MK2 Profiles than we actually had."

Color also defined Roy's design, adding to its "sense of humor" through some spirited combinations like raspberry and purple. Playing a big role in this aspect of the show were the 23 CHAUVET Professional Rogue R3 Washes in the rig. "Their mission was simple," Roy says of the RGBW movers. "They had to add color to the stage and light up the artists, all while being clean, clear, effective throughout. The Rogues nailed it."

As for this choice of colors, Roy explains it this way: "The truth is, I just follow my gut, and that's usually what works best!"