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  1. White Light Joins Production Services Association

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    White Light has recently joined the Production Services Association (PSA), reaffirming the company’s commitment to the welfare of its freelancers.

    The PSA is the trade association for companies and individuals involved in the live event production industry. Its aim is to represent, improve, educate and develop the business of technical production for live events. This is achieved by pooling the knowledge of the entire industry to create a single voice and a central resource for its members.

    The association is directed by its members through the PSA Council. One of these council members includes John McEvoy, who is WL’s Head of Business Delivery Resources. John comments: “I’ve been involved with the PSA for several years now and know what a brilliant organisation it is. It’s there to deal with the real day-to-day issues that many freelancers face and ensures that they are backed by a strong support network who can offer everything from legal advice to any generic queries”.

    He adds: “At WL, part of my role is to look after all of the freelancers on our books. I want to ensure that anyone who works alongside WL is given the very best support possible and knows that we take the responsibility of looking after our freelancers very seriously. As a company, we’re renowned for our people and their friendly, approachable nature. We want to make WL a great, supportive place for anyone to work hence why joining the PSA is so important”.

    The PSA was formed in the early 1990s at the International Live Music Conference when a group of forward-thinking individuals decided that the industry had issues best addressed by one voice speaking as a whole. Since then, the organisation has encouraged its members to make them aware of any issues that need addressing. The initial contact is usually made through the PSA office or council member. The PSA has many functions but one of the most important ones is that of pooling the resources of the industry to tackle any issue. The PSA is also widely recognised as the body that can represent the views of the industry when deciding on legislation and codes of practice.

    John concludes: “Ultimately, it’s the freelancers who are out there on a day-to-day basis delivering our projects and acting as our representatives. Everyone who works for us is part of the WL family and we want to show our commitment to them by offering all of the benefits they deserve”.

  2. Jon Clark Wins Olivier Award for Best Lighting Design

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    Established in 1976, the Olivier Awards celebrate the world-class status of London theatre and are recognised as Britain’s most prestigious stage honours. This year’s Award ceremony took place yesterday evening at the Royal Albert Hall. White Light was once again on hand to supply the lighting equipment for the main ceremony as well as the complete technical solutions for the post show party. The company also sponsored the prestigious Best Lighting Design Award, which was won by Jon Clark for The Inheritance at the Young Vic and Noel Coward Theatre.

    WL’s Managing Director Bryan Raven comments: “We were delighted to sponsor the Best Lighting Design Award once again; something we have done for over five years now. The standard this year, as ever, was extremely high and we had supplied three of the four shows nominated. We are absolutely over the moon for Jon who has picked up his first-ever Olivier Award. Having provided the lighting for both the Young Vic run and the West End transfer, we were lucky enough to see his amazing work on The Inheritance first-hand and were thrilled to see his efforts recognised”.

    Written by Matthew Lopez, The Inheritance is an epic two-part play which asks what it means to be a young gay man in New York after the AIDs crisis. It was directed by Stephen Daldry and received critical acclaim during its sell-out run. Alongside Best Lighting Design, The Inheritance also won Best New Play, Best Director and Best Actor.

    The other big winners on the evening included Company which took home Best Actor in a Supporting Role in a Musical, Best Actress in a Supporting Role in a Musical, Best Musical Revival and Best Set Design. WL supplied the lighting for this sell-out production and you can read the full press release here. Other winners included Kobna Holdbrook-Smith for Best Actor in a Musical in The Tina Turner Musical, Summer and Smoke at the Almeida Theatre and Duke of York’s Theatre which won Best Revival, Catherine Zuber for The King and I at the London Palladium who won Best Costume Design and A Monster Calls at the Old Vic which took home Best Entertainment and Family Show. WL supplied the lighting for all of these.

    Bryan comments: “It was fantastic to see such an eclectic range of shows we’ve supplied be recognised as the brilliant productions they are. The last twelve months have been a really exciting and innovative time for London theatre and to play a small part in bringing these ground-breaking shows to life is a privilege. We’d like to say congratulations to all of the winners on the evening”.

    Alongside sponsoring the Best Lighting Design Award, WL provided the lighting equipment for the actual ceremony itself, working closely with Lighting Designer Ben Cracknell. WL also supplied the complete technical production for the post show party that took place at the Natural History Museum.

    Bryan concludes: “The Olivier Awards are an all-encompassing event for us; whether it’s from our sponsorship, supplying the winning shows or providing the technical solutions across the evening. To be part of an event that celebrates theatre and recognises the hard efforts of those involved is a real honour and we look forward to continue supporting the event and SOLT for many years to come”.

    Photos courtesy of Julian Bird and SOLT.

  3. White Light’s Apprenticeship Scheme – How to Apply

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    As an organisation, we pride ourselves on our industry knowledge, personal service and high technical standards. We are also extremely passionate about developing the next generation of talent and a way in which we do this is through our annual apprenticeship scheme. Since 2011, we have overseen 49 apprenticeships. Those who have completed the course have all gone on to work in the industry, whether it’s as Production Manager, Site Technician or Account Handlers. We also won Best Apprentice Employer in 2012 along with Best Collaboration with Education Providers in 2014 with Fairfield Halls and ATG; both at the Creative and Cultural Skills Awards. Later this year, we will once again be on the lookout for our next intake of Technical Apprentices and would like to encourage anyone interested to apply.

    The WL Apprenticeship aims to nurture those embarking on a career in technical theatre. The apprenticeship is a Level 3 Creative Venue Technician course which is a combination of ‘on-site’ and ‘in-house’ training. Working along their training provider the National College of Creative Industries, WL will deliver specific training courses in order for those embarking on the apprenticeship to receive the necessary base skills and certification that is recognised and required in the industry.

    The scheme is overseen by WL’s Health & Safety and Workforce Development Director Chris Nicholls. He comments: “The scheme has been tailored to ensure it offers everything those wanting a technical career in the industry require. Whether it’s the preparation and maintenance of AV and lighting equipment, first-hand experience of working at some of London’s most prolific venues, along with training across all departments here at WL, they will receive a wide range of opportunities and skillsets that aren’t available elsewhere”.

    Following on from its previous success, the Technical Apprentice Scheme will run again this year for an August/September intake. The company is encouraging a range of candidates to apply, particularly those from underrepresented backgrounds. Following receipt of the applications, the WL team will draw up a shortlist of 16 candidates. These 16 will then be invited to a Recruitment Day in July at WL’s Wimbledon base where they will receive a full overview of the company. During this time, they will spend time with the various WL departments and undertake a practical test. This shortlist will then be narrowed down to four who will then be invited to join the WL Apprenticeship scheme.

    Chris explains: “Whilst we only have the capacity to take on four apprentices, we try to ensure we offer support and guidance to all of those shortlisted; whether this is offering them work experience, casual work or just sitting them down for a cup of tea and discussing their next steps”.

    Anyone interested in applying can do so via the WL Apprentice page. WL will be opening applications around May 2019.

    Chris concludes: “The fact that our Apprentice scheme has won awards, as well as allowed those who’ve undertaken it to have successful careers in the industry, just shows what an extremely valuable training scheme it is. We are looking forward to receiving the applications later this year and working with our latest intake of young, passionate technical apprentices”.

  4. White Light’s Apprenticeship Scheme: Where Are They Now?

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    Since 2011, WL has overseen a total of 49 technical apprenticeships. Many of these are currently employed by the company, many still work with us on a freelance basis whereas others have gone on to pursue a range of technical roles within the industry. In this blog, we look back at the apprentices who have taken part in our scheme over the years and see where they are now.

    Dan Goodwin was part of WL’s first intake of apprentices back in 2011. Today, he still works at WL in the role of WL Venue Logistics Supervisor. He explains: “After finishing my studies, I spent around three years freelancing, which mainly involved lighting a touring show. And whilst I picked up a lot of ‘on the job’ skills, there was very little theory so my technical knowledge was limited. As a result, I undertook a WL Technical Apprenticeship where I was able to work within the majority of departments, such as rigging and moving lights. After my apprenticeship, I worked as a WL Demo Technician before moving onto WL Hire Contracts Administrator, WL Hire Co-ordinator before arriving at my current role as WL Venue Logistics Supervisor. My job now is to continuously improve and streamline the various request formats and procedures that come through our range of Managed Venues and it’s something I really enjoy”.

    Simon Arnold was part of the third intake of apprentices and is currently a WL Hire and Sales Co-ordinator. He explains: “From working at Twickenham Stadium as part of the Rugby World Cup to follow-spotting at the Roundhouse, the apprenticeship was a rocket which propelled me into the entertainment industry. Picking up recognised qualifications, managing myself to be on site on time and working with top level professionals meant I got both a grounding and a foot in the door. Now I work on the hire desk for WL, supporting existing projects, seeking out new enquiries and translating them into trucks of kit, delivered on time and to the high standard that our client base expects”.

    Another former apprentice still working for WL is Michael Tyler who is now a Site Technician and works across the UK on a range of projects. He comments: “The apprenticeship meant a lot as it gave me opportunities to work on events and projects that I wouldn’t have been able to anywhere else. It also gave me the skills and knowledge to immediately start my current role and hit the ground running”.

    Alfie Gunningham was part of the 2015 Apprentice intake and went on to co-found events company Nightstar Events. He comments: “During my time at WL, I partook in everything from Electrical Theory Training, to hands on experience at high profile venues and events. My apprenticeship was invaluable in giving me the skills I use day-to-day, working on live events across the country. Without it, I wouldn’t have been able to grow as a person and climb the career ladder anywhere near as quickly as I have. Managing an events company at age 20 is something I would never have dreamed of doing so if anyone’s got a passion for the entertainment industry and wants to try something new then I would heartily recommend applying”.

    Alongside those who now have successful careers within the industry, there are currently seven apprentices based at WL. One of these is Zach Patel, who comments: “I’ve been an apprentice for just over a year and am now based in the Audio department. In my time here so far, I’ve gained lots of hands on experience as well as training and knowledge that will last me my career”. Another current apprentice is Nathan Cocker, who comments: “Undertaking the apprenticeship means you are earning a wage whilst gaining hands on experience in the industry. It also allows you to kickstart your career due to the industry contacts you meet”.

    Alongside Nathan as part of this year’s cohort is Sophie Gill who states: “It has been a really hands-on experience so far, and I’ve loved getting involved, especially if there is a challenge. Working in each department has allowed me to communicate with multiple people in the company and build good relationships whilst learning about what I love. Being sent out on site is also a great experience as we get to put our knowledge to the test and apply all of our acquired skills to help clients directly”.

    WL’s Health & Safety and Workforce Development Director Chris Nicholls, who oversees the apprenticeship scheme, comments: “We are extremely proud of our past apprentices who have all excelled and are now pursuing their own exciting careers which play to the strengths and skills they developed during their time here. We are equally proud of our current batch and look forward to seeing where their passion, ability and technical knowledge takes them in the future”.

     

  5. White Light’s Apprenticeship Scheme: Going Underground at VAULT Festival

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    VAULT Festival is London’s biggest, boldest and bravest arts and entertainment festival. Founded in 2012, it is located inside the Waterloo tunnels and annually hosts over 400 shows from over 2,000 artists. It features the best new writing in theatre and comedy along with immersive experiences, late night parties and much more. Since its inception, WL has supported the Festival by supplying the complete lighting and rigging solutions. The Festival is also an opportunity for the company’s apprentices to work on-site as part of the technical installation.

    VAULT Festival is produced by Mat Burt and Andy George of the Heritage Arts Company. Andy, who is also Head of Production, comments: “The Festival exists to provide opportunities for visiting companies to present work. But it also exists to further the lives and careers of those we work with too; hence why we were so keen to get WL’s apprentices on board. It’s an agenda driven by WL’s Managing Director Bryan Raven who wanted to give the apprentices a chance to experience the hands-on, multi-natured, exciting environment of the Festival. Much like he used to do up at the Edinburgh Fringe Festival back when he was first starting out, he wanted the apprentices to experience something that can only be learned ‘on the job’. Fringe festivals can shape the careers of those backstage and behind-the-scenes just as much as those onstage – and we’re no different”.

    Prior to the Festival, the apprentices worked with VAULT’s Head and Deputy Head of Lighting to fit up all of their performance and public spaces. There are 11 venues, 5 public areas, and a range of vehicle and pop up venues; all of which are built from scratch. During the festival, the apprentices work with everything from flying in chain hoists and truss, to rigging, cabling, and plotting. They also help deal with tech and dress rehearsals, daily maintenance, troubleshoot when problems arise, help with turnarounds between performances and even operate shows as well.

    Andy comments: “With around 32 different performances per day, this normally includes at least four new shows, so the programme is constantly changing. As a result, a lot of what the apprentices are learning is to work with a wide range of people, challenge particular circumstances and find the best and most efficient ways to problem-solve. This, coupled with the hands-on skills of rigging, cabling, patching and programming means they are gaining hands-on experience of all the necessities of working in the theatre and events lighting world”.

    This year’s intake of apprentices have worked once again on this year’s Festival which was the biggest one yet. It opened on 23rd January and will run until 17th March. WL’s Managing Director Bryan Raven comments: “As an organisation, we make it a priority to offer our apprentices training that is both hands-on and  transferable for when they complete their studies and pursue a career within the industry. VAULT Festival provides us with the invaluable opportunity for them to do just this”.

    Andy concludes: “We love working with the apprentices. It’s an opportunity for us to pass on the exciting learning opportunity that the Festival is to people who really thrive and benefit from it. The apprentices form the core of the lighting crew we work with and without their passion, energy and support, the Festival wouldn’t be what it is”.

    Photos courtesy of VAULT Festival.

  6. White Light’s Apprenticeship Scheme: The Story So Far

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    To celebrate National Apprenticeship Week, we will be posting a blog every day this week which focuses on our long-running apprenticeship scheme and the impact this has had on both past and current apprentices. Today, we’re reflecting on how successful the scheme has been so far and how we are now offering apprenticeships that go beyond the traditional technical training.

    As an organisation, we pride ourselves on our industry knowledge, personal service and high technical standards. We are equally passionate about developing the next generation of talent and a way in which we do this is through our annual apprenticeship scheme. Since 2011, we have overseen a total of 49 technical apprenticeships as well as winning Best Apprentice Employer in 2012, along with Best Collaboration with Education Providers in 2014 with Fairfield Halls and ATG at the Creative and Cultural Skills Awards.

    Now in its eighth year and with a fresh intake of apprentices, the scheme is as strong as ever and continues to be overseen by WL’s Health & Safety and Workforce Development Director Chris Nicholls. Chris comments: “Since 2011, we have fulfilled our commitment of taking on an average of six intakes per year, with each of these having their training based on the Technical Theatre framework (up until 2017). From our initial intake of four apprentices in 2011, several are still employed by the company in various roles including Event Site Technicians, Account Handlers, Advanced Installations Technicians, Crew Logistics and Supervisors in our Control Department. In fact, 6% of our workforce is made up of our current apprentices; a fact we’re very proud of”.

    The WL Apprenticeship aims to nurture those embarking on a career in technical theatre. The company is the first in the UK to offer the new level 3 Creative Venue Technician standard and WL was one of the employers who helped shape this standard.  The standard is a combination of ‘on-site’ and ‘in-house’ training as well as 20% ‘off the job’ training. Working alongside their training provider the National College of Creative Industries, WL delivers specific training courses in order for those embarking on the apprenticeship to receive the necessary base skills and certification that is recognised and required in the industry.

    Chris explains: “For us, it’s vital that we offer our apprentices training that is going to be transferable to their future career. That’s why we provide a solid grounding in technical knowledge when they first join WL; rotating them between warehouse departments such as Moving Lights, LED, Systems and Control Rigging, Cables, Sound, Video and Audio, Operations and Technical Services. We then move them into our Site Technician team, allowing each one to work on various events such as the London Fashion Weeks, Covent Garden Christmas Lights as well as meetings and conferences in venues where we are the in-house technical supplier such as Central Hall Westminster and Claridge’s. It’s an experience they wouldn’t receive elsewhere and one which we’re extremely proud of”.

    WL has recently decided to widen its apprentice offering and give candidates the opportunity to work in an office-based role and be part of the two teams that support vital parts of the business. Two new roles will be Business Administration Apprenticeships who will train and develop their skills within the marketing and business support departments, as well as gain insight and experience in related finance areas. The first of these apprenticeships was given to Aayla Royal who will be based at WL’s Wimbledon base. The next successful candidate will start in mid-March.

    Sandra Tyler, WL’s Head of HR, comments: “With our technical apprenticeships proving so successful, we felt it was right to offer something that allowed candidates to experience the more administrative side of our industry. The aim of the Business Administration Apprenticeship is to enable those who take part to become highly trained individuals with practical experience gained in all aspects of our Business Support teams. We really look forward to working with Aayla and giving her hands-on experience and training she wouldn’t receive elsewhere”.

    Chris concludes: “The fact that our apprenticeship scheme has won awards, as well as allowed those who’ve undertaken it to have successful careers in our industry, shows what an extremely valuable training platform it is. We are committed to bringing through and training what will be the next generation and look forward to continuing the scheme for many years to come”.

  7. White Light Goes Gently Down the Stream

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    White Light recently provided the lighting equipment for Gently Down the Stream which has opened to rave reviews at London’s Park Theatre.

    Set at the turn of the 21st century, Gently Down the Stream is a delicate examination of the relationship between Beau; a 62 year old piano accompanist from New Orleans, and Rufus; a 28 year old bi-polar lawyer, set over the course of thirteen years in Beau’s London flat. It is written by Martin Sherman, directed by Sean Mathias and features a lighting design by Jamie Platt.

    Jamie comments: “The majority of the show is set in Beau’s apartment which is beautifully designed by Lee Newby. We wanted this to feel as real as possible so, as a result, most of the lighting for these scenes was committed to creating a totally naturalistic world. That said, Sean was very keen to make the monologues that are dotted throughout the play feel incredibly poignant and sentimental as they tell us of Beau’s history in dealing with homophobia, AIDS, loss and heartbreak. Therefore, the aim of these moments was to focus on Beau and try to make the flat disappear into the background”.

    Having supplied a range of Jamie’s shows throughout 2018, he approached WL once again to provide the lighting on this production. He explains: “I knew I wanted to use the expansive back wall of the Park Theatre as a blank canvas for the monologues. It lends itself so well to washes of colour, and WL offered me the PixelLine 1044 LED battens. These fitted perfectly into the rig and their multi-cell function also allowed me to close down gently to the exact areas I wanted to highlight.

    He adds: “I also knew that each monologue was likely to be in a different position on the set so I spec’d two Martin MAC TW1s with narrow lenses. I love the tungsten quality these offer, and the ability to perform a subtle live colour change over a five minute speech was a big plus for me. Finally, I put two Vari*Lite VL1000s into the rig, and I was able to use them to perform live shutter moves to close in on various characters over the show. The lack of fans on the tungsten VLs and the TW1s was of supreme importance from a noise perspective, on such a delicate play”.

    This marks the European premiere of the production, with Sean Mathias having also directed the show’s premiere on Broadway in 2017. Jamie comments: “We really wanted to make this version not feel like a copy of the previous production. The Park 200 space offered a vastly different setting (thrust vs pros. arch) and I was keen to use colour in a much bolder way to differentiate the monologues from the naturalistic world in the scenes”.

    The show was now opened to rave reviews and will run until 16th March.

    Jamie comments: “This has been a fantastic show to work on and we’re proud of the response we’ve received from both critics and audiences alike. I’d like to thank our Production Manager Patrick Molony for doing such as great job as well as Bryan Raven and Simon Arnold at WL for their continued support”.

    Photos courtesy of Marc Brenner.

  8. White Light Supports VAULT Festival for Seventh Year Running

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    White Light will be returning to VAULT Festival once again this year to supply the complete lighting and rigging solutions. This will mark the seventh consecutive year that the company has worked on the Festival, having supported it from day one.

    Located inside the Waterloo tunnels, VAULT Festival is London’s biggest, boldest and bravest arts and entertainment festival. This year it will run from 23rd Jan to 17th March, with more than 400 shows from over 2,000 artists. It features the best new writing in theatre and comedy along with immersive experiences, late night parties and much more.

    The event is produced by Mat Burt and Andy George of the Heritage Arts Company. Andy, who is also Head of Production, comments: “When we first started the Festival back in 2012, we had no idea it would grow to become what it is today. We initially thought it would be a one off yet the more people heard about it, the more they wanted to come along and get involved. One of our biggest aims has always been to make theatre accessible and remove barriers for our visiting artists. As we know, making creative work for a live audience is always risky but we try our hardest to minimise up-front costs and reward the creative party”.

    With the Festival being so committed to supporting its artists, this means it largely depends on the help of other organisations to make itself sustainable. Andy explains: “We are not publicly funded which often makes things difficult; especially when the whole purpose of the Festival is to make theatre financially viable! That’s why when we first started, we contacted WL as we knew about their reputation for supporting emerging artists. Thankfully, they’ve been with us ever since”.

    At VAULT Festival, WL supplies all of the lighting, rigging and power across 16 venues, six bar spaces and six box office areas. This year, they have worked closely with Head of Lighting Sarah Readman who specified the kit required for each area. She comments: “This year, we’ve made a conscious decision to move more towards LED. Not only is this much more energy efficient but also offers our designers more flexibility and reliability. I worked with Senior Account Handler Dan Last who was extremely supportive and helpful; as always”.

    Alongside supplying the equipment, WL also provides the services of its current apprentices who help install everything on-site across an 11 day period. Andy comments: “The apprentices this year, like the previous cohort, are a fantastic bunch who have really gone above and beyond to get everything ready on time.  Across the Festival, they will also take on different roles such as show operator and technician, ensuring they take full advantage of the festival whilst it’s running”.

    VAULT Festival opens on Wednesday and the headline show this year is Counting Sheep which visits London after an acclaimed sell-out run at the Edinburgh Fringe.

    WL’s Managing Director Bryan Raven comments: “We are delighted to once again be supporting VAULT Festival. It’s one of the few platforms out there for emerging artists of all disciplines to have their work showcased and is a hotbed for the next generation of theatre-makers. As an organisation, it’s been fantastic to see the Festival simply go from strength to strength and we look forward to continue supporting Andy, Mat and the whole team on what promises to be another memorable year”.

    Photos courtesy of VAULT Festival.

  9. It’s a Happy New Theatre Year for White Light

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    White Light is welcoming in 2019 by supplying a range of theatre shows in London’s West End as well as touring productions across the country.

    Over the course of 2018, WL supplied the lighting for a variety of smash-hit shows including the critically-acclaimed Company, The Inheritance, Young Frankenstein, The Jungle, The Pinter Season, The King and I, True West and the Oscar Wilde Season. The company also continued to supply long-running hits including Harry Potter and the Cursed Child, Matilda, Aladdin, Tina – The Musical, 42nd Street and Les Misérables.

    WL’s Managing Director Bryan Raven comments: “We had a fantastic 2018 which marked one of our busiest years yet. As we progress into 2019, we have hit the ground running and are looking to repeat the success of the previous twelve months. Our expert Customer Service teams continue to work with designers, both established and emerging, to help achieve their vision”.

     

    In January alone, WL has supplied the lighting for Songs for Nobodies at the Ambassadors Theatre; with the company providing the lights for every single show at the venue last year. Over the next few weeks, WL will also supply All About Eve at the Noel Coward Theatre, The American Clock at the Old Vic and The Price at the Wyndham’s.

    Away from the West End, WL is also supplying a range of tours. Shows that have loaded out already this month include Rain Man, The Lady Vanishes, Abigail’s Party, Wise Children, Ghost, Art and Avenue Q.

    The company is also supplying shows within London’s OffWestEnd including Leave to Remain at the Lyric Hammersmith, Aisha at the Old Red Lion Theatre and The Unreturning at Stratford East Theatre Royal. WL is also sponsoring the Best Lighting Design Award at both the WhatsOnStage and OffWestEnd Awards and will also be providing the complete lighting solutions for the VAULT Festival which returns for its seventh year later this month.

    Bryan comments: “We continue to invest up to £3 million in brand-new equipment each year, meaning we are able to work on such a large range of shows, both in the West End and across the country. To see our kit being used in venues throughout the UK is a fantastic feeling and we’re delighted that designers return to us year-on-year in order to offer them a service they won’t receive anywhere else”.

     

  10. Oh Yes It is Panto Season for White Light

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    With the festive season now upon us, theatre stages up and down the country are being filled with dames, beanstalks, flying carpets and glass slippers. As a leading lighting supplier to West End and UK touring theatre, White Light is once again suppyling a range of pantomimes this Christmas.

    Pantomimes are many venue’s biggest production of the year, with these classic childhood stories often starring household names. An all-time favourite is Aladdin and, this year, WL is supplying several versions of the show, including one at Hackney Empire which is lit by David Howe. He comments: “Hackney Empire’s Aladdin evolved a lot in the rehearsal process, with a lot new music being written specifically for this production. My brief, as ever, was to enhance the whole look of the show and help the audience focus on each story-telling moment. When it comes to equipment, it’s not actually about the flashiest new kit or what’s just arrived on the shelf. Rather, it’s about drawing on fixtures that you know will be reliable and able to cope with 12 performances a week – something WL has in abundance”.

    WL is also supplying Aladdin in Cambridge, Crawley, Norwich, Yeovil and Swindon, with the Wyvern Theatre production starring EastEnders legend Adam Woodyatt. The Lighting Programmer for the show is Eden Thornton, who comments: “I’ve now worked on ten pantos over the last six years. They can often be hard work as you’re trying to create a big show in what’s not a great amount of time. That said, it’s very exhilarating. It’s also important to have a good team around you as well as the services of a reliable hire company; hence we try and use WL whenever we can”.

    Other popular titles that WL is supplying include Snow White in Bolton and Malvern, along with The Wizard of Oz at the Birmingham Rep and Bolton Octagon. Cinderella is going to the ball in Canterbury, Eastbourne, Guildford and Portsmouth whereas Jack and the Beanstalk is sprouting on stage in both Epsom and Watford. Peter Pan is also flying into Theatre Royal Portsmouth as well as the Park Theatre, London, where Nic Farman is the lighting designer. Nic comments: “I’ve worked on a couple of pantos now and, from my experience, you can really be bold and create beautiful, colourful stage pictures which captivate the audience’s imagination. Peter Pan at the Park Theatre is actually a more traditional version of the play and my role is to use light to create the locations that appear throughout the course of the show. We rely heavily on saturated colour and texture from gobo washes to help transform the relatively small stage for each part of the play. The team at WL have been great in providing me with the fixtures I need to take the audience to places such as Neverland, Mermaids Lagoon and Captain Hook’s Pirate Ship”.

    WL also supplied the lighting for Sinbad at the Beck Theatre for BACCES: the British Airways Cabin Crew Entertainment Society which puts on a yearly panto, and in its history has raised over £1M for worthy causes. The Lighting Designer was Jonathan Haynes, who states: “Compared to a traditional play, panto is generally very flashy and colourful, jam packed with fun where anything goes! Basically nothing is off limits, so long as it also helps to tell the story! With this show in particular, as the cast are full-time cabin crew for British Airways, there were only a limited number of rehearsals so I had to have a design that was flexible and could change. For instance, the first tech run was the first time I actually saw the characters’ lavish costumes and so I very quickly had to tune the colours to compliment these; hence it was vital I had equipment that offered versatility”.

    The busy panto season is a fitting conclusion to what’s been an extremely busy 2018 for WL, who have supplied the lighting on a range of theatre smashes including Company, The Band, Tina – The Musical, The Inheritance, The Pinter Season alongside long-running hits such as Harry Potter and the Cursed Child, Aladdin, Matilda and Les Misérables.

    WL’s Managing Director Bryan Raven comments: “It’s been another great year in which we’ve continued working on shows of all sizes all across the country. We are now looking forward to 2019 where we will continue our investment in both the latest technology and expert staff in order to offer lighting professionals the level of service they’ve come to expect from us”.