Wicked - the Australian tour of a marquee musical
For the Australian tour, one team delivered the automation and Raynok show control, the onstage performer flying, the touring rigging and the in-house scenic refurbishment - a single package built to run to a cue, season after season.
For the Australian tour, the automation, the performer flying, the rigging and the scenic refurbishment were designed to work together - one networked show that repeats to the cue every night. Select a point to see the system we delivered.
Wicked - the Australian tour of a marquee musical
A touring show where the automation, the performer flying and the rigging all have to move together, repeat to the cue every night, and pack down and travel between seasons - safe to put cast in the air on.
For the Australian tour, delivered full-show stage automation with Raynok show control, onstage performer flying with specialist operators, the chain-hoist touring rigging that carries the flown load, and in-house scenic refurbishment of the show deck and scenic elements - engineered as one integrated package.
One networked show that moves as one - flight, scenery and rigging locked to a single cue stack.
Wicked is a big, technical show. Scenery moves, performers fly, and the load lives overhead - and on a touring production, all of it has to strike, travel, and rebuild between seasons without losing a single cue.
That only works if the automation, the flying and the rigging are treated as one system, not three suppliers meeting for the first time on the load-in. Full-show stage automation. Onstage performer flying. Chain hoists carrying the flown load. Every one of them load-bearing, in front of audience, and carrying people - and the show deck they all sit on refurbished in-house to take the tour.
The brief was clear: make it move as one, make it repeat to the cue, and make it safe to put cast in the air on - every night, in every venue.
TSA delivered full-show stage automation and put it behind one networked Raynok show-control system. Scenery and flown elements move on cue, repeat to the frame, and stop inside their limits - so the operator drives the whole stage from a single cue stack instead of chasing separate machines.
Onstage performer flying was built into the same package and run by specialist operators, with variable-speed, load-monitored control on every flight. Because the flying shares the show-control network with the automation, each performer move stays locked to the scenery around it - one cue, physical moves and flight paths together.
The chain-hoist rigging that carries the flown load was specified to match the automation cues, then supported through the run so the whole package stays certified and show-ready. Because it was engineered as one system, it strikes, travels and rebuilds between seasons without the moves drifting out of sync.
The show deck and scenic elements were refurbished in TSA's own workshop before the tour - stripped back, repaired and finished to take the wear of a touring season and still read right under lights. Because the team that engineers the automation and rigging also refurbishes the scenery, the deck the whole package sits on travels and rebuilds without surprises.
Because the automation, the flying, the rigging and the scenery were engineered and refurbished together, Wicked's Australian tour runs from a single cue stack - scenery, flight and flown load locked to the same beat rather than separate systems trying to agree in the wings.
That is what integrated delivery buys a touring production: fewer moving parts to reconcile, a package that strikes and rebuilds cleanly between seasons, and one team accountable for the whole stack staying safe and show-ready.
Touring musicals, theatres, arenas. When the automation, the flying and the rigging all have to run to one cue, night after night, one team should own the whole package. Talk to us.