Perfect weather conditions for the peak of vacation season were the backdrop of this
excellent show from the ultimate entrant of the 2017 edition of the Montreal International Fireworks Competition. Winner of the Gold Jupiter in 2015, Jubilee Fireworks was arguably the most anticipated contestant this year. Despite these favorable conditions, large sections of the grandstands were still empty whereas the audience is typically close to capacity towards the end of the competition.
Like Surex (Poland), Jubilee Fireworks favoured a “light” theme. This time, it was around the musical theatres, reminding me the
Theatre of Fire performed by Foti (Australia) in 2006. The soundtrack was made of 13 segments, many being popular and effective to engage a diverse audience at one moment or another. It allowed for many changes in the rhythm of the show, even within the finale on “Come What May” from
Moulin Rouge which featured an anti-climactic slower passage.
The team has decided to not use the fourth ramp. Five floating platforms created the fifth ramp. Also, some firing positions were located on all three access platforms which connect the third ramp to the second one.
The pyromusical design of the show was slightly less sophisticated and detailed than Jubilee Fireworks’ debut display. Nonetheless, whereas I use to scream only during some finales because they excite me a lot, I screamed a couple of times during this very entertaining show. The very first segment, with the “Ouverture” from the
Phantom of the Opera, was massive and it involved a great number of firing positions. It also featured a wide range of products : candles of meteor-headed comets, crossettes, studatas, cylindrical shells, then volleys of whistles and barrages of shells and salutes. That was much more effective to engage the audience than a 3-minute narrative! In contrast, the
tableau on “Memory” (
Cats) was a very serene segment, based on various types of horsetails (some turning into short white comets, other ending in twinkling stars) and Niagara falls shells which were still burning when they touched the ground (or the water). However, the show lacked of smaller details which create vibrant memories, like the hanging salutes in 2015, bursting when
Uptown Funk “stopped.” The original title of the 2017 show, “Gunpowder and Greasepaint,” has been translated in French by “Coup de théâtre,” a more exclamative term which evokes a surprising reversal of a story. I would have liked some “coups de théâtre.”
Of course, I didn’t anticipate a “coup de théâtre” in the form of problems which impact the technical design. Maybe people “can’t stop the beat,” as said in one of the songs selected by Jubilee, but reluctant firing positions can. As soon as the opening of the show, we saw a set of firing positions at the far-left of the third ramp which didn’t work. The Portuguese team has experienced a similar problem; however, their missing positions were in the centre left, which disrupted many sequences. In that sense, the impact was slightly less important in the British case. Also, firing positions located on the left access ramp properly worked, helping to support other segments. Although we have seen more serious technical failures in the Montreal competition before, the problem was persistent and caused many asymmetric patterns.
Beyond this problem, the technical design emphasized the depth of the firing area, probably as effectively as the French show. For instance, on the music of “One Night in Bangkok” (
Chess), fans of very thin stars came into life on ramp 5, turning into thicker fountains. Then red strobes appeared in the background. The penultimate segment also featured sequences of mines on the 5th ramp with some sorts of fans behind. Distinct nautical carpets made of purple, blue, and orange flares appeared on the lake, as well as some nautical shells at the end of the finale. Generally speaking, I would say that the team had made a good use of the available space.
The quality of the pyrotechnic material was excellent. While a couple of products has been displayed many times, the arsenal included a wide range of effects, the aforementioned variety of horsetails being an example. Many pieces produced more complex effects. In the 4th part (“Timewarp”), we saw some colour-changing shells with an inner sphere which also changed of colours. Other shells with contrasting quarters also changed of colours following different patterns. There was a great richness of colours, notably on the music from
The Amazing Technicolour Dreamcoat. Nautical carpets of flares, shells and fans of stars, as well as go-getters and falling leaves: all featured multiple colours. This segment also had very bright red and blue stars from shells. The quality of the pieces reminded me the show of Vaccaluzzo.
The synchronization was excellent through the show. It was very different from the 2015 performance where many segments had a razor-shape synchronization, likely increasing very significantly the number of cues required to fire with a such level of precision. This time, many sequences were note-synchronized or synchronized with some lyrics, but nothing too mechanical.
Despite the technical problems which occurred, Jubilee Fireworks is certainly a strong contender for a Jupiter. My personal and final ranking appears
here.
Fred