Traditions are funny things. They mark the passage of time and connect us to events and seasons. But they always remain beyond our control. They can’t be bought, they can’t be forced, they can’t be faked, and they never happen overnight…

At least almost never! All that changed in 1996, when the late Paul O’Neill created the Trans-Siberian Orchestra holiday shows. And before anyone could say “Ho Ho Ho” it became an instant Yuletide classic!

With its traditional Christmas-themed music performed with an intense metal twist, and supported by brilliant lighting, laser, video and SFX design, the show touched something deep in the hearts of North American fans.

Today, more than 19-million tickets, and many album sales later, TSO is still going strong as ever. The show’s Lighting and Production designer Bryan Hartley has played a big role in that. The widely acclaimed designer, who has been with the show from the beginning, is constantly expanding the appeal of this holiday treasure with a host of new effects and scenic elements.

Hartley, who developed some serious chops lighting KISS before hooking up with Paul O’Neill, walked us through the history of TSO, and gave us some insight into what it’s like to work with… well, there’s no other way to say it… An Iconic American Tradition!

You’ve been with TSO for two decades. The production has an unmistakable and instantly recognizable identity, yet it never fails to surprise. How do you keep it looking so fresh and original after all these years?
“I’m lucky enough to be involved in a project that does a brand new show every year. Once this year’s show ends, I’ll be working on the one for next year. I’ll start at the end of December and in 10 months the new show loads in to rehearsal We have a few stories we rotate, so that helps keep the design fresh. Of course, we will take elements of various shows and give them a new twist, which also keeps the looks new and exciting.”

Can you give us an example how you modify previous elements of the show to give it a new look each year?
“So, this year we have a giant inflatable castle that we will project lighting on to. Last year we had Nut Cracker Suite Doll inflatables that filled a similar role in the show, but in a different way. It is amazing what you can do with inflatables in this kind of production, by the way. It is kind of mind blowing.

“Some people may be afraid of the cost of an inflatable, but when you look at how much they save in terms for trucking, the cost becomes more reasonable. Another inflatable concept that was really well received by audiences last year was this giant Snow-Globe with a young woman singing “Queen of Winter” inside of the structure. We are using it again but in a different way this year.”

How do you get inspired to come up with different ideas as the production and lighting director?
“There are many different ways, really. Paul O’Neill, who started TSO, liked to call the production Rock Theatre, so the music and the story line obviously inspire the looks for each show. I will also do things like look at TSO album covers. One year, we had a Giant Toy Box that was the album cover, so I had it replicated for stage and had a band playing inside the box. That was a big hit. TSO is now, and has always been, about fun and expanding imagination. This inspires our entire production.”

You did major tours for groups like KISS before you hooked up with TSO, what prepared you best for being lighting and production designer for this show?
“Really what prepared me most was my relationship with Paul O’Neill. Paul was manager in our Joan Jett Office when I was working for her with Elliot Saltzman. Paul really liked me as a lighting guy, so the move to TSO was a natural fit. I just kept doing what I always did when I started with TSO. As we just discussed, TSO is Rock Theatre, just like KISS, so there are a lot of similarities.

You mentioned Paul O’Neill, you had close relationship and were great collaborators. How would you describe his impact on TSO?
“Paul had a passion for TSO. That was the key to the show’s success. He loved lighting, especially the color red. I used to joke that if it was up to him, everything would be red. He was always open to new ideas, which gave the show its energy. I always felt I could go to him with any concept and he would hear it out. I remember once I wanted to have a 35-foot wide pyramid at FOH Behind me with pyro. It was different. He loved it – and it worked.”

Paul passed away in 2017. How did that affect you and the team?
“It was horrible on a personal level. We were heartbroken. I still miss his spirt, his wackiness, and his fun loving qualities as much as ever. As far as the show itself goes, we continue to flourish. Paul put a great team together. He instilled his vibe into the show and that’s still shining brightly. It’s hard to believe this will be the seventh TSO without him, but I like to think that he is still up there somewhere enjoying it.”

Why do you think TSO has remained so popular?
“I don’t know. It is something that connects to people. I did KISS for 15 years, but nobody ever talks about that, it’s just TSO. Funny, in 2010 we had Steven Tyler, who was a friend of Paul’s, perform with us. Steven watched videos of previous shows to prepare for this performance. One day, he phoned me and said ‘I don’t know who you are, but I love the lighting at TSO. When he performed with us, he called me over and asked if I wanted to design for Aerosmith, which I did for three years.”

Can you give us a sense of how a TSO show comes together?
“This year we have 60 editions of the show on each side of the US, for a total of 120. The tour runs from November 13 to December 30, two shows a day for most of the run. We put together and rehearse both versions of the show in Omaha for 22 days. The two rigs are set up at each end of the building each takes turns rehearsing. After that the two shows leave Nebraska, one going to the west coast, one going to the east. We have a large dedicated crew for each show. It’s an intense effort that’s not for everyone.”

What is the most challenging things about designing TSO?
“The challenge is to create a fresh and original show every year that is built around the same theme and draws fans who often have seen it multiple times before. You have to come up with ways to make it all new for them. This was even more of a challenge the first 12 years when the music was exactly the same. It still is a challenge, but a fun one – and we always meet it. The show’s sheer size and spectacular features help. So, for example, at arenas we will put our content on the video ribbon so the whole venue is immersed. This kind of effect never gets old for people.”

What is the best thing?
“Getting to create something that has become such a cultural icon around the holidays and getting to work with such a great team, including Elliot Saltzman who is the Tour Director for both camps, Jeff Boguski and Jimmy Petenado, our Production Managers – couldn’t do it without these guys.

‘I am not a big ego guy, but it’s really nice when I see how this show means so much to so many people. I was on a plane not long ago when the flight attendant recognized me. He was a real fan of TSO and follows it on all the social media platforms, which is where he saw me. He went on to tell me how much he loves the show. Yeah, I got to admit that felt good.”