Absolutely. The trick is to keep all other light from hitting the background, or at least make sure its at least three stops lower than the foreground. In other words, meter the area where the model is, with no background light working. Then, without changing or turning anything else on, read the background. If its 3 stops or more under the foreground, you should be fine (for example, if the foreground reads f11, and the background is reading f4, meaning a 3-stop falloff). If you're not 3 stops, you might gets some dilution of the background color which may look nice too, but 3 stops will get you some good saturation like these. Depending on how far from your background you can get your model (she's about 10'-12' in front), you may have to flag the lights, or use sidelight, or a spot.
These shots of an early Gena Lee Nolin where all done with the same bluish/gray backdrop, using one background light on the floor, covered with one gel color. She is standing on a platform made of 3/4" plywood, about 16" off the ground (supported by concrete blocks). This does four things. First, it lets me shoot her laying down by allowing me to get actually lower than the floor, Second, it allows the chrome mylar on top of the platform to actually become (reflect) the color of the background. Third, by putting a single 2x4 under the rear blocks, I get a slight tilt on the platform toward me, giving me a little more platform to see, which if you shoot this, will become obvious as to why its desirable. The forth thing is does is allow me to hide the background lamphead, sitting dead center on the floor, pointed up somewhat, but flagged from hitting the model. In this shot I also had hair and rim lights (total 3) working, although that's kind of a dated look at the moment. Hope this helps.
Andy Pearlman Studio