Tag Archive: Bryan Raven

1. White Light Wins at the Event Technology Awards

   8 November 2018 10:56 Leave a Comment

   

   Now in their sixth year, the Event Technology Awards recognise the achievements of companies delivering the most innovative digital and technological solutions within the events industry. The Awards are widely regarded as the only networking event that brings together agencies, brands, buyers and suppliers, with the 2018 ceremony taking place last night at The Troxy, East London. After being crowned winners of Best Use of Audio Visual Technology in 2017, WL was announced as the recipient once again this year for its work on The Cube e-studio during Discovery Eurosport’s Winter Olympics coverage.

   This year marked the first time that Eurosport was broadcasting the Winter Olympics in Europe and, based on its reputation for delivering innovative broadcast technology to international sporting events, WL was approached to provide the consultancy, design, equipment and support for Discovery and Eurosport’s on-site presentations. This included The Cube e-studio which was a platform that allowed Eurosport to push the boundaries of traditional sports analysis. WL created a fully-immersive, interactive canvas for the presenters and guests who were able to see all of the material they were analysing wrapped around them. They were able to physically see and point at things in the walls around them, pull objects “out” of the screens into the studio and walk around 3D renders in order to provide detailed analysis – all without the need for vast broadcast experience or green screen training.

   Some of the most special moments created in The Cube were with medal winning athletes or sports personalities who were able to just walk into the studio during their brief visits to the IBC and instantly produce genuine, engaging interviews which demonstrated real integrity – sometimes creating some quite emotional moments. The Cube environment immediately allowed them to feel at ease as they weren’t faced with the challenges of a green screen but, rather, could see and interact with the content around them. The immersive nature of the studio and more natural eyelines towards the content and other presenters meant they were also less overwhelmed by the cameras and studio lighting, helping them feel instantly more comfortable and confident.

   WL’s Technical Solutions Director Andy Hook comments: “We are absolutely over-the-moon to have won Best Use of Audio Visual Technology at this year’s Event Technology Awards. The Cube e-studio was an extremely ambitious project, pushing the boundaries of what could be achieved when it came to sporting broadcasts. It was a privilege to be involved in the creation of something so ground-breaking and we are excited to see the future potential of how this technology can be utilised”.

   The Award marks one of several that WL has already received in 2018. Earlier this year, the company was awarded the IBC Innovation Award for Content Creation as well as being shortlisted for the AV Awards’ Broadcast and Media Project of the Year. The company was also shortlisted for Best Use of Technology at a Sporting Event at the Event Technology Awards.

   WL’s Managing Director Bryan Raven adds: “The fact that we won the previous year’s Award for an immersive corporate event at Banqueting House and have now won this year’s for an international broadcast truly demonstrates the vast range of expertise, technology and resources we have as a company. We are proud to be in a position where we can deliver award-winning work to a variety of sectors and are delighted that the hard efforts of our brilliant team have once again been recognised”.

2. White Light Takes the Stand at Career Fairs Across UK

   29 October 2018 11:41 Leave a Comment

   

   As the technical solution specialist, White Light prides itself on its industry knowledge, personal service and high technical standards. The company is passionate about nurturing the next generation of talent and runs an annual apprenticeship scheme along with work experience opportunities. As part of this commitment to encouraging new talent, WL will be attending the upcoming Production Futures, TheatreCraft and Skills London shows.

   Taking place on Wednesday 7^th November at Production Park, Wakefield, Production Futures is a free-to-attend event that offers students the opportunity to chat face-to-face with some of the biggest companies and individuals working within the production industry. Each of the industry giants in attendance will be sharing their knowledge and experience through engaging talks, demos, workshops and behind-the-scene insights. WL’s Head of Business Delivery Resources John McEvoy will be there on behalf of the company. He comments: “We attended the first ever Production Futures two years ago and were really inspired by the students in attendance and their enthusiasm. It will be fantastic to be back once again and make even more connections this time round”.

   Later that month, WL will also be having a stand at TheatreCraft – the UK’s largest free theatre careers event. Taking place on Monday 19^th November at the Waldorf Hilton Hotel, TheatreCraft offers a unique glimpse into what careers are available ‘behind the scenes’ in the theatre industry, such as lighting, stage management, technicians and much more. WL is sponsoring the event once again and Managing Director Bryan Raven will be talking on Super Panel: Technical Careers from 10:30 – 11:30am in the Adelphi Suite. On the WL stand, there will be WL’s Head of HR Sandra Tyler along with two current apprentices.

   Sandra comments: “TheatreCraft is the event for students wanting to learn more about having a career in the industry. At WL, we are really passionate about encouraging the next generation of theatre makers and ensuring they know which roles are available to them. Two of our current apprentices will also be on hand to answer any questions about our award-winning apprenticeship scheme, which will open once again for CVT applications in summer 2019”.

   WL currently employs eight apprentices undertaking the new Creative Venue Technician (CVT) standard. On Monday 29^th October, the company will be joined by four additional apprentices, also undertaking the CVT. The company 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. Since 2011, WL has employed over 35 apprentices; the majority of which have gone onto exciting career opportunities in the industry and ten have remained within WL. WL is also excited to add Business Administration Apprentices to its existing apprentice opportunities. These roles will be recruited later this year and announcements will be made and we will be looking for successful candidates to join us in January.

   And finally, at the end of the month, WL will be attending Skills London. Taking place from 23 – 24^th November at ExCeL London, skillsLondon is the UK’s biggest jobs and careers event and is aimed specifically at 15 -24 year olds. The event gives attendees the opportunity to discover careers through interactive, inspirational activities and demonstrations. WL will be sharing a stand with the National Theatre, Roundhouse and Royal Opera House in a joint effort to showcase the possible career paths within the theatre industry.

   WL’s Managing Director Bryan Raven concludes: “Ultimately, we find ourselves in a really exciting time within the industry and we want to ensure that we make as many students as possible aware of the options they have available to them. Our attendance at all three shows indicates our continued commitment to encouraging the next generation of talent and we look forward to forming new relationships and contacts over the next month or so”.

   Further Information

   Production Futures – https://www.productionfutures.co.uk/
   TheatreCraft – http://www.theatrecraft.org/
   Skills London – https://skillslondon.co.uk/

3. White Light Adds Vari*Lite VL2600 to Hire Inventory

   25 October 2018 14:26 Leave a Comment

   

   For years, Vari*Lite has offered lighting designers ground-breaking products to help achieve their vision. Their latest product, the recently-launched Vari*Lite VL2600 Profile, promises to continue this tradition, designed with a range of features that push the boundaries of lighting technology. With a continued commitment to the very latest technology, White Light confirmed they are making a substantial investment in the product; with the fixture now available to hire for its clients.

   The VL2600 Profile is designed with top-class performance in mind. It produces 19,000 lumens of high colour temperature, high contrast light output from its state-of-the-art 550W light engine, with a class-leading zoom range of 7-48°. Shaun Robertshaw, UKI Sales for Vari*Lite, comments: “We are really excited with the VL2600 Profile. Expanding on the colour range of the VL2500, it offers a broader choice of saturated colours whilst maintaining the familiar Vari*Lite colour palette from the CMY colour system with variable CTO adjustment.  It’s also extremely compact, lightweight, fast and accurate; not to mention easy-to-use, prep and maintain”.

   On display at this year’s PLASA Show, the product has already proven extremely popular with lighting designers and technicians, impressed with both its capabilities and versatility. It was also here where WL confirmed they are making a substantial investment in the product, having spent time evaluating prototypes over the summer. The fixture will be available for clients to hire in mid-November.

   

   From left to right: Vari*Lite’s Shaun Robertshaw, White Light’s Bryan Raven and Dave Isherwood and VL’s Amber Etra.

   Dave Isherwood, WL’s Technical Director, comments: “At WL, we are renowned for investing in the very latest technology and being able to offer our clients as many options as possible; hence why we invested in the VL2600. It’s a really well-rounded product that will meet the demands of LDs across many of the varied markets we service, and it continues the innovation that the Vari*Lite brand is renowned for”.

   Shaun adds: “What’s great about this investment is that it further cements a long-standing partnership between ourselves and WL that has proved to be successful over many years. With WL investing in the Vari*Lite VL2600, I envisage that, in a very short time, it will become the ‘go to’ luminaire as did its predecessors. Here at Vari*Lite, our global team is committed to bringing designers the very best results and the Vari*Lite VL2600 does just that”.

4. Bryan’s Blog: The Words of John Ruskin…

   6 August 2018 17:03 Leave a Comment

   

   Following last month’s blog post about my 30 years at White Light, I have been encouraged to put ‘pen to paper’ once again…

   This month’s inspiration comes from a dinner I had earlier this month. It was with a colleague who was in London for a few days. He reminded me of a quote that used to be in the (now famous) White Light catalogues we used to produce every couple of years (until a little thing called the internet made such things redundant). The quote he was referring to came from the late 1800s and was made by John Ruskin, who was a well-known writer at the time.

   “It’s unwise to pay too much, but it’s worse to pay too little. When you pay too much, you lose a little money – that’s all. When you pay too little, you sometimes lose everything, because the thing you bought was incapable of doing the thing it was bought to do. The common law of business balance prohibits paying a little and getting a lot – it can’t be done. If you deal with the lowest bidder, it is well to add something for the risk you run, and if you do that you will have enough to pay for something better.”
   John Ruskin (1819 – 1900)

   This led to a discussion about how nothing has really changed in the twenty years we have been working on projects together; with many of our customers still looking at the initial ‘cost of things’ rather than the ‘value of things’. We discussed the pressures our clients are under to deliver their projects for the lowest prices for their clients. We bemoaned the lack of medium or long-term view on projects as we regaled each other with stories of losing jobs to competitors on price only to discover that the end cost to the client was more than our original ‘higher’ quote. We discussed whether this was a result of the changes in society, whether things like the internet had transformed many areas of our business into a ‘commodity’ as it made it easier for people to compare and find alternative suppliers.

   Then we remembered something about the quote – it was written almost 150 years ago. It was written in an era before telephones let alone the internet. What would our Victorian forebears make of our business world today where we all expect everyone to be accessible 24 hours a day, 7 days per week and respond to requests made within hours rather than days. Going back to the subject of my last blog, I remember when we were required to post our quotes before someone invented the fax machine* in the late Eighties and we were able to reply to requests for pricing on the same day as receiving them. Now we have mobile phones and receive our emails remotely meaning we can respond within minutes. Yet this can often result in having no time to consider our options and ending up making quick judgements and decisions.

   (* I recently had to explain to someone what a fax machine was as we no longer have one at WL…I felt very old)

   But going back to the quote from John Ruskin: have things changed in the 150 years since he wrote that quote? To the best of my knowledge, John Ruskin wasn’t talking about the entertainment industry when he wrote those words yet they still feel extremely relevant. So maybe nothing really has changed and nothing is new? I suppose we’ll have to see if John Ruskin is still being quoted in another 150 years time…

5. ITEAC 2018 – Bryan’s Blog

   11 June 2018 08:43 Leave a Comment

   Taking place every four years, ITEAC is regarded as the place to be if you are involved in the planning, design, construction, specification or operation of places of entertainment. This year’s theme was Places for Performance: New Directions and aimed to explore new ways in which performance spaces are developing. As one of the sponsors, we attended all three days of this year’s ITEAC and our Managing Director Bryan Raven has written a blog about his time there:

   Sunday 3^rd June

   As I walked up to the IET at Savoy Place early Sunday morning*, there was a real sense of anticipation. As ITEAC only takes place once every four years, it is always a hugely popular event and attended by delegates from around the world who are interested/involved in theatre architecture. We were delighted to not only be a sponsor this year but also have our staff give presentations along with two of our apprentices helping with the technical set up including the get in (*they had to be on site at 6am Sunday…I was a bit later!).

   After catching up with old friends and clients, the day kicked off with a fascinating session entitled ‘New Cities, Countries and Opportunities’. Later that afternoon, we were treated to Oscar-winning actor Mark Rylance offering his own unique interpretation of theatre buildings; sentiments you rarely hear from an actor. One thing that really struck a chord with me was his comment that ‘silence for actors is the same as darkness for lighting designers’ – as part of his plea for quieter technology.

   

   After lunch, I relocated upstairs to the Turing Lecture Theatre where I heard our Technical Solutions Director, Andy Hook, speak as part of ‘The Use of Digital Technologies to Enhance Performance’ session. Andy expressed his belief of how augmented reality is the future and spoke at length about our recent immersive production open day which was a huge success and pushed the boundaries of broadcast technology  (you can see a full demonstration of the concept here).

   The day was rounded off by a trip to the newly-opened Bridge Theatre over near Tower Bridge (where we supplied some of the lighting infrastructure and LED house lights). Not only were delegates able to walk around this fantastic venue but they also heard a panel discussion chaired by Dr Margaret Shewring which featured the theatre’s co-founder Nick Starr along with our good friend Mark Ager from Tait, who discussed their vision for the space.

   Monday 4^th June

   Monday proved to be just as busy as Sunday; if not more so. It was another jam-packed day and, like all of the other delegates, I tried my hardest to attend as much as I possibly could. Particular highlights included Lucy Kerbel, the Artistic Director of Tonic Theatre of which we are a sponsor, who chaired two equally fascinating panels: ‘Artistic Directors Perspective’ with Louise Jeffreys and ‘Bodies in Space’, alongside Vicki Igbokwe.

   

   It was great hearing an old friend of WL, Rob Halliday, speak so passionately about the Eco Design regulations as part of the ‘Bursting the Bubble: LED, Regulation and the Future of Lighting’ debate, which was moderated by LD Lucy Carter.

   The day brought up a few interesting topics, including two separate references to how important the seating in venues was to sightlines. There was also a debate about a standard for motion control with companies such as Tait and Kinesys discussing the merits. The lighting world agreed to a standard protocol in the mid eithers (DMX512) and it was great to have Steve Terry from ETC in the room who was one of the main people behind DMX.

   One thing was decided for certain though: after a round of interactive audience voting, the Sydney Opera House was crowned the Most Significant Theatre from the Second Half of the 20^th Century. I was torn between Royal Festival Hall and Sadlers Wells for my vote…

   Tuesday 5^th June

   And so we approach the final day of ITEAC – where did that go?! Thankfully, today proved as interesting and innovative as the others. It started with a fantastic key note speech by Graham Vick MBE who spoke about the often negative impact venues can have on new audiences and how it’s about going out and taking the work to them – something he’s done to great effect with Birmingham Opera. Another controversial comment came from theatre critic Lyn Gardner who asked if we actually need new theatres as part of the ‘Core Values in Theatre Architecture’ discussion. Lyn also made a great point as to how ‘it’s important for buildings to have a connection with the local community – they should feel an attachment to them’.

    

   Upstairs in the Turing Lecture Theatre was another insightful debate called ‘Theatre by Candlelight’ which looked at the Sam Wanamaker Theatre and the use of candlelight in the space. I had no idea the venue had an in-house Candle Technician! There were also some amazing case studies about various theatres from across the world – including the soon-to-be-opened Shed in New York along with the National Theatre in London and Ottawa’s National Arts Centre. Whilst it’s important to discuss the future of theatre architecture, it’s just as vital to remember that ‘historic theatres are part of our cultural landscape’ – a comment made by Jon Morgan from the Theatres Trust.

   The final session featured Simon Harper hosting a “virtual dinner party” on stage in which various people were invited to join him to discuss certain issues that had arisen over the previous three days. It was an interesting concept that worked well with some lively debate about a range of topics. This was followed by drinks and networking on the rooftop terrace of the IET with its spectacular view up and down the Thames. The IET proved to be a perfect venue for the conference and hopefully we can return there in four years’ time.

   To conclude, it was another fantastic conference which pushed thinking and discussion around theatres and how they are constructed. We were delighted to be a sponsor and want to say thank you to the organisers, especially Catherine Cooper, along with her many assistants which included our own apprentices. I would urge anyone to put the date in their diaries for four years’ time. It would be great to get more people involved who work in theatres on a day-to-day basis, whether it’s producers, performers or technicians, to ensure we are building theatres which achieve their full potential.

   Photos courtesy of Origin8 Photography.

6. Congrats to the Olivier Awards 2018 Winners

   9 April 2018 09:15 Comments Off on Congrats to the Olivier Awards 2018 Winners

   

   Established in 1976, the Olivier Awards celebrate the world-class status of London theatre and are recognised as Britain’s most prestigious stage honours. The Olivier Awards 2018 with Mastercard ceremony took place on Sunday 8^th April and were hosted by Catherine Tate. White Light not only supplied the lighting equipment for both the main ceremony and after party but also sponsored the prestigious Best Lighting Design Award, which was won by Howell Binkley for Hamilton at the Victoria Palace Theatre.

   The other nominees for Best Lighting Design included Jan Versweyveld for Network at the National Theatre and Paule Constable for Follies and Angels in America; both also at the National Theatre. WL’s Managing Director Bryan Raven comments: “It’s a privilege to sponsor the Best Lighting Design Award once again. It’s important that, as an industry, we recognise the fantastic work across all disciplines; with lighting design being one of these.  As always, the standard was unbelievably high this year and all four shows featured magnificent designs. We are delighted for Howell for his brilliant work on what has now become an iconic show”.

   Hamilton was the biggest winner on the night and took the accolades for Best Sound Design, Outstanding Achievement in Music, Best Theatre Choreographer, Best Actor in a Supporting Role in a Musical, Best Actor in a Musical and Best New Musical.

   Other winners on the night included:

   BEST NEW COMEDY
   Labour Of Love at Noël Coward Theatre

   BEST NEW DANCE PRODUCTION
   Flight Pattern by Crystal Pite for The Royal Ballet at Royal Opera House

   OUTSTANDING ACHIEVEMENT IN DANCE
   Francesca Velicu for her performance in English National Ballet’s production of Pina Bausch’s Le Sacre Du Printemps at Sadler’s Wells

   BEST ENTERTAINMENT AND FAMILY
   Dick Whittington at London Palladium

   BEST COSTUME DESIGN 
   Vicki Mortimer for Follies at National Theatre, Olivier

   BEST ACTOR IN A SUPPORTING ROLE
   Bertie Carvel for Ink at Almeida Theatre and Duke of York’s Theatre

   BEST ACTRESS IN A SUPPORTING ROLE
   Denise Gough for Angels In America at National Theatre – Lyttelton

   OUTSTANDING ACHIEVEMENT IN AFFILIATE THEATRE
   Killology at Jerwood Theatre Upstairs at the Royal Court Theatre, a co-production with Sherman Theatre Cardiff

   BEST SET DESIGN
   Bob Crowley and 59 Productions for An American In Paris at Dominion Theatre

   BEST ACTOR
   Bryan Cranston for Network at National Theatre – Lyttelton

   BEST ACTRESS 
   Laura Donnelly for The Ferryman at Jerwood Theatre Downstairs at the Royal Court Theatre and Gielgud Theatre

   BEST DIRECTOR
   Sam Mendes for The Ferryman at Jerwood Theatre Downstairs at the Royal Court Theatre and Gielgud Theatre

   BEST NEW OPERA PRODUCTION 
   Semiramide at Royal Opera House

   OUTSTANDING ACHIEVEMENT IN OPERA
   Joyce DiDonato and Daniela Barcellona for their performances in Semiramide at Royal Opera House

   BEST REVIVAL
   Angels In America at National Theatre – Lyttelton

   BEST MUSICAL REVIVAL
   Follies at National Theatre – Olivier

   BEST ACTRESS IN A SUPPORTING ROLE IN A MUSICAL 
   Sheila Atim for Girl From The North Country at The Old Vic and the Noël Coward Theatre

   BEST ACTRESS IN A MUSICAL
   Shirley Henderson for Girl From The North Country at The Old Vic and the Noël Coward Theatre

   SPECIAL AWARD
   David Lan

   The awards ceremony was lit by Ben Cracknell who worked closely with a team which included Cy Dodimead and Lee Batty.  WL also oversaw the technical productions for the after party which took place at the National History Museum and was attended by almost 2000 guests.

7. White Light the Musical to Premiere in West End

   1 April 2018 00:01 Comments Off on White Light the Musical to Premiere in West End

   
   *Please note that, due to certain artistic differences, WL – The Musical has had to be postponed for the time being. We intend to offer a full refund to all 12 of you who purchased tickets. A revamped version of the show is expected to be announced on the same date next year…
   For over 45 years, White Light has been the leading lighting supplier to West End and UK touring theatre. Now, for the first time in the company’s history, we are delighted to announce the long-awaited White Light – The Musical which will open in London’s West End later this year.

   The inspiration behind White Light – The Musical comes from the company’s Managing Director Bryan Raven. He explains: “As a leading lighting supplier to West End theatre, we firmly believe this justifies our having a musical based upon the White Light story. Many a time I’ve walked down Shaftesbury Avenue and thought ‘what the West End really needs is a musical about a company that supplies the lighting equipment’. I’ve been talking about this idea for years just to be greeted with looks of bemusement so I think it was previously too radical a concept. However, I strongly believe we’re now in a place where audiences are ready for a White Light musical. Well, they’re getting it anyway”.

   White Light – The Musical tells the story of how a small company in Fulham would grow to become one of the biggest theatre lighting suppliers to the West End and UK touring theatre. It will feature an original book and draw on songs from some of the world’s best known artists. Bryan explains: “In what we believe to be a clever move, we’ve ensured that every single song in the musical is called White Light. This includes White Light by George Michael, White Light by The Corrs, White Light by Gorillaz, White Light by The Velvet Underground and White Light(ning) by Def Leppard. We were warned this may become tedious but we’ve just ignored that. The only exception is Agadoo by Black Lace which will be used for the encore”.

   The idea came into fruition following what can only be described as months of R & D. Bryan comments: “We met in the pub every Tuesday night to discuss the premise and how far we could go with it. By sheer coincidence, the more we drank, the more creative we became. We knew we were really onto something when the other six people in the pub said they’d come and see the show – something they reiterated when we bought them another round. In fact, we’re currently in negotiations for them to be part of the ensemble”.

   

          The TBC artwork for this epic production.

   Aside from the ensemble, the main cast is still to be announced but will feature a range of household names. Bryan adds: “We really wanted to ensure that whoever we cast were an accurate reflection of who we are in reality. This was particularly important for the person playing me. Sadly, Ryan Gosling wasn’t available so we’ll have to have a rethink”.

   So far, the Production Electrics team has been confirmed as Martin Chisnall and Gerry Amies (with these industry veterans more commonly known as “Jurassic Sparks”). The Production Manager is Lee Batty whereas there will be open auditions for the lighting designer held at Wimbledon Village Hall later this month. Designers are asked to bring their tap shoes and at least two songs to the audition.

   WL has also managed to scoop another influential industry figure for a critical role on the production. Bryan comments: “After working in this industry for over 45 years, we understand that the most important part of any show is the first night party. That’s why we’ve appointed the best party organiser in the business, Sue Uings, to come on board. Come to think of it, we’ve actually assigned more budget to the opening night party than the actual show itself so it better be good!”.

   The show opens in July later this year and is expected to immediately extend following press night (critics are embargoed). Tickets are now on sale and they are expected to be sold out by midday today.

   Bryan adds: “We’re realists here at WL and know that shows don’t run forever. However, if we could at least match the success of Les Misérables, then we would be satisfied. We are also in talks for a UK tour, US tour, Edinburgh Fringe run and, of course, the inevitable movie. Next stop Hollywood!”.

8. Congrats to the Tonic Award Winners

   20 March 2018 09:40 Comments Off on Congrats to the Tonic Award Winners

   Tonic Theatre was created in 2011 to encourage the theatre industry to achieve greater gender equality in both its workforces and repertoires. It partners with leading theatre companies and venues across the UK to work on a range of projects, schemes and creative works. Every year it hosts the Tonic Awards which celebrate the achievements of women in theatre. The 2018 Awards took place last night at the Mayfair Hotel and White Light was once again one of the main sponsors.

   The Tonic Awards were attended by some of the most prominent names in the theatre industry and presenters included Vicky Featherstone, Kwame Kwei Armah and Maxine Peake. Lucy Kerbel, Director of Tonic Theatre, comments: “The Awards are a great opportunity to bring people together, creating new partnerships and sharing ideas. This last year has shown that a shared voice can make profound change, and the atmosphere of community here tonight reflects that”.

   WL’s Managing Director Bryan Ryan adds: “Tonic Theatre is a superb organisation that’s striving for much needed change within the world of theatre and has already achieved so much in the past seven years alone. Recently, the issue of gender equality has become a prominent one in theatre and organisations such as Tonic have been at the forefront of making this discussion happen”.

   The range of winners on the evening included:

   Emma de Souza, for her tireless commitment to bringing new audiences into London’s West End through Kids Week, which offers families the opportunity to experience theatre together at an affordable price.

   Clean Break Theatre Company, for forty years of work on the theme of women and the criminal justice system, giving opportunities to generation after generation of female creatives, and giving voice to women whose experiences are all too often silenced by society.

   Waking the Feminists, for a brave and creative campaign to effect positive change in regards to the representation of women in Irish theatre.

   The Royal Exchange Theatre, Manchester, for the consistency with which the theatre has programmed and foregrounded work about women, and within that, the diversity of women’s experiences.

   Steffi Holtz and Gina Abolins, for their brave decision to speak up about inappropriate behaviour in their workplace, in spite of potential personal and professional repercussions, giving voice to the often unseen and unheard experiences of those working behind the scenes and in less high profile positions.

   Kully Thiarai, for her achievements and ethos as an artistic director. In particular, her dedication and energy to creating theatre and artistic experiences for the communities around which the organisation she has led are based.

   

                                                               The winners on the evening

   
   Lyn Gardner, for her dedication to showcasing new voices and productions as a theatre critic and her thoughtful contributions to debate within the theatre industry as a journalist.

   Caryl Churchill, for an extraordinary career, in particular her consistent daring to defy form, leading the way for a new generation of female playwrights, breaking down walls within the theatre industry.

   Katie Mitchell, for her game-changing artistic work, proactive support of younger female theatre artists, and dedication to foregrounding feminism on stage.

   Following the ceremony, Sita McIntosh, chair of Tonic’s Board of Trustees, said: “Tonight has been about celebrating the success stories, and this brilliant group of women have achieved extraordinary things, leading the way for a new generation”.

   Bryan adds: “We are always keen to celebrate the achievements of those working in our industry; whether it’s our sponsorship of the Tonic Awards, WhatsOnStage, OffWestEnd or the National Skills Annual Conference. It’s important that we reflect on the brilliant achievements made by certain groups/individuals and that we continue to push for a fairer industry for all”.

9. Congratulations to Olivier Awards Nominees!

   8 March 2018 17:26 Comments Off on Congratulations to Olivier Awards Nominees!

   

   WL’s Bryan Raven with last year’s Best Lighting Design Award winner Neil Austin.

   The Olivier Awards are presented annually by SOLT (the Society of London Theatre) and recognise excellence in professional theatre in London. For the past several years, White Light has sponsored the Olivier Award for Best Lighting Design and will do so again in 2018. This year’s nominees include Howell Binkley for Hamilton, Paule Constable for Angels in America and Follies and Jan Versweyveld for Network.

   This year the ceremony will take place at the Royal Albert Hall on Sunday 8^th April. The critically-acclaimed Hamilton, which has now arrived in the West End following its Broadway run, received a record number of 11 nominations; including Best Director, Best New Musical, Best Actor in a Musical, Best Supporting Actor in a Musical, Best Supporting Actress in a Musical and, of course, Best Lighting Design.

   The lighting design for Hamilton is by Howell Binkley whose work on the show has already won a Tony Award in 2016. Jan Versweyveld is nominated for his work on Network, which recently opened at the National Theatre and stars Bryan Cranston. Jan’s other notable credits include Lazarus at the Kings Cross Theatre along with the Young Vic’s production of A View from the Bridge at the Wyndham’s Theatre; both of which were supplied by WL.

   Paule Constable, who has already won an Olivier Award on four separate occasions, has been nominated twice in 2018. The productions are Angels in America and Follies, both of which ran at the National Theatre. You can read her Leading Light here, in which she spoke to us about her career as a lighting designer.

   

   Paule Constable is nominated for two shows: Angels in America (pictured) and Follies.

   WL’s Managing Director Bryan Raven comments: “As the leading lighting supplier to West End and London theatre, we are delighted to once again be sponsoring the Olivier Award for Best Lighting Design. For many, the Oliviers mark the highlight in the theatrical calendar. It’s always a magical evening which celebrates the greatest talent within our industry. It’s great to see such a range of work be nominated for Best Lighting Design and we wish each nominee the very best of luck”.

   Previous recipients of the Olivier Award for Best Lighting Design include Neil Austin for Harry Potter and the Cursed Child (2017), Mark Henderson for Gypsy (2016), Howard Harrison for City of Angels (2015), Tim Lutkin and Finn Ross for Chimerica and Paul Pyant and Jon Driscoll for Charlie and the Chocolate Factory (2014).

   The Olivier Awards is another example of WL recognising the range of talent in the theatre industry, with the company also sponsoring the WhatsOnStage and OffWestEnd Awards.

   Bryan adds: “As a company, it’s important we help to recognise achievements all across the theatre industry.  Our sponsorship at award ceremonies throughout the year shows our commitment to supporting lighting designers and theatre practitioners at all levels and we’re very proud to once again be returning to the Oliviers”.

10. White Lights is The Best Man for West End Premiere

    7 March 2018 09:17 Comments Off on White Lights is The Best Man for West End Premiere

    First performed in 1960, Gore Vidal’s The Best Man recently made its debut in London’s West End. Opening at the Playhouse Theatre, the show tells the story of two presidential candidates who are both vying for an endorsement from the current President; with the play exploring the lengths they’ll go to achieve this. This latest production is produced by Bill Kenwright Ltd and the lighting equipment was supplied by White Light.

    The Best Man enters the West End directly from a UK tour, for which WL also supplied the lighting. It stars a range of well-known names, including Martin Shaw, Maureen Lipman and Honeysuckle Weeks and features a lighting design by Chris Davey. Chris comments: “The entire play is set in a hotel suite in Philadelphia, which houses both of the candidates. In terms of the set, there is a huge gauze wall with a bedroom upstage that disappears at certain points throughout the show. That said, the most important part of set, in terms of lighting, was the huge window positioned stage right. One of my biggest tasks was to make the window believable that it was lighting the room at various points throughout the day”.

    To achieve this, Chris drew on a range of 5kw Fresnels. He explains: “The Fresnels made the windows bright enough yet ensured that all of the cast received the correct amount of lighting coverage. The evening scenes contain a heavy top light to suggest a chandelier and par cans skim across the net curtain to imply the street lights outside; with the suite being based on the third floor”.

    For the rest of his design, Chris had to work with Michael Taylor’s intricate set design. He comments: “Overhead, the rig consists largely of Lustr Mk2 Fresnels. I used them as space is tight due to newspaper headlines being flown from above. As there wasn’t enough space to rig a warm and cold wash, the Lustrs allowed much more possibilities and often change colour during a scene. I also drew on three data flashes for the camera effects off the paparazzi who are stood outside the suite’s main door throughout”.

    As the play had already visited several venues across the UK, Chris had to make some subtle changes to his design for the West End run. He states: “There a lot more cues at the Playhouse Theatre, meaning there is more structure to the look and it allows us to follow the action around the room more; highlighting the various moods. Similarly, we amended the scene changes to make these as interactive as possible and allow them to also become scenes within themselves”.

    The show has now opened to extremely positive reviews. It will run until 12^th May.

    Chris comments: “The Best Man has been a fantastic production to work on and it’s great to have followed its journey from a UK tour all the way into the West End. I am also grateful to WL for their support at every stage”.

    Bryan Raven, WL’s Managing Director, comments: “We are delighted to be working with Chris and supplying yet another show in the West End. With our lighting equipment currently being used on Harry Potter and the Cursed Child, Aladdin, Young Frankenstein, The Birthday Party, along with the upcoming Tina: The Musical, we are still the leading lighting supplied in the West End, providing designers with the technology and service they expect from WL”.

    Photos courtesy of Pamela Raith.