Tag Archive: Bryan Raven

1. Patrick Woodroffe Wins WhatsOnStage Awards Best Lighting Design

   26 February 2018 16:37 Comments Off on Patrick Woodroffe Wins WhatsOnStage Awards Best Lighting Design

   

                                       Patrick Woodroffe won Best Lighting Design

   Last night saw the return of the annual WhatsOnStage Awards. Taking place at the Prince of Wales Theatre in London’s West End, the Awards are the only major accolades in the UK where the audience are the judges. This year’s event was attended by the biggest names in the theatre industry and was presented by Trevor Dion Nicholas (Aladdin‘s Genie) and Vikki Stone. As the leading lighting supplier to West End theatre, White Light sponsored the Best Lighting Design Award which was won by Patrick Woodroffe for his work on Bat Out of Hell.

   Running at the London Coliseum last year, Bat Out of Hell uses the music of Meatloaf’s iconic album to tell the story of rebellious lead Strat who falls in love with Raven, the beautiful daughter of the most powerful man in post-apocalyptic Obsidian. It was lit by Patrick Woodroffe whose career spans over forty years. His work covers the fields of contemporary and classical music, opera, film, television, architecture and musical theatre.

   Bryan Raven, WL’s Managing Director, comments: “We were delighted to once again sponsor this year’s Best Lighting Design Award. We have worked with Patrick on several projects now, including the recent tour of The Band along with the Pink Floyd: Their Mortal Remains exhibition at the V & A Museum, and it’s fantastic that he has won this accolade for the first time”.

   The biggest winner of the evening was 42nd Street, which won Best Musical Revival, Best Choreography, Best Costume Design and Best Set Design. The show was also nominated for the Best Lighting Design Award by Peter Mumford (you can read his interview about the production here). Other notable winners included David Tennant for Best Actor in a Play, Olivia Colman for Best Actress in a Play, The Ferryman for Best New Play, Everybody’s Talking About Jamie for Best New Musical and Sonia Friedman for Services to Theatre.

   

   The WL team with lighting designers Charlie Morgan Jones, Prema Mehta, Nic Farman, Declan Randall and Jess Bernberg

   Two new awards were also presented this year. These included the Best Original Cast Recording which went to Les Misérables. There was also the Best Show Poster Award which went to Harry Potter and the Cursed Child. WL supplies the lighting for both productions.

   WhatsOnStage’s Chief Operating Officer Sita McIntosh comments: “2017 was such a strong year for theatre, and it’s wonderful to see such a broad cross section of work recognised in this year’s awards – many of the nominees were running neck and neck during the voting process due to the strength of talent represented.”

   Bryan adds: “The WhatsOnStage Awards are truly unique in the sense that they are one of very few that are solely decided by the audience. Ultimately, shows are there to serve their audiences and it only makes sense that the work/performances that they admired the most should receive recognition. It also marks our continued commitment to celebrating the very best of the theatre industry, as seen with our sponsorship of the OffWestEnd Awards and the Tonic Theatre Awards; both recognising theatre at all levels”.

2. It’s All or Nothing for White Light in West End

   22 February 2018 10:11 Comments Off on It’s All or Nothing for White Light in West End

   All or Nothing – The Mod Musical follows the rise and fall of the Small Faces; a band who encapsulated the mod era. The home-grown musical features a range of the band’s classic hits, including Itchycoo Park, Lazy Sunday and, of course, All or Nothing. Following its initial run at The Vaults in 2016, followed by a sell-out UK tour, the show opened last week at London’s Arts Theatre. Having supplied the show since its very first production, White Light has been called upon once again to provide the West End run.

   The Lighting Designer for All or Nothing is Peter Small, who has worked on the show since it first opened in 2016. He comments: “It’s fair to say the show has definitely grown and changed over time; so much so that it’s now a completely different production than the one seen at The Vaults. Every time we’ve remounted it for an extension or a new tour, we’ve always taken the opportunity to improve and refine our work; with the West End transfer being the biggest and loudest version yet”.

   As with every version of the show, Peter’s brief remained the same for the West End run: to be true to the music and the era in which it’s set. He explains: “This isn’t a rock show. Rather, it’s an equal balance between the ‘straight acting’ scenes alongside the music and dance sequences. For the acting scenes, we carefully choose the lighting depending on how we wanted each location to look (given the scenery doesn’t change). When we moved to a new location, we would either lead with a practical or an effect in order for the audience to identify with that location.

   He adds: “It’s the same for the music numbers. Each number has a very specific look that is not used again elsewhere. I also wanted to use the lighting to try and show the progression in the band’s career. For instance, in the early performances, there are some cheap-looking colour wheels. For the next phases, there is a mirror ball until it eventually leads to a full-blown concert. It’s about layering up the effects as we move through the tracks”.

   As the show entered the Arts Theatre, this obviously meant there had to be some additions to the previous rig. Peter explains: “Back in The Vaults, we had about 50 generics and very few moving lights. Today, we have a rig of 72 moving lights, 58 scrollers and over 114 generics – so it’s a slight increase! For a show like this, I looked to draw on equipment that I knew I could fully rely on. This included the GLP XBar 20s, ETC Revolution IM/SMs, VL1000TS, VL1100AS, VL3000Q, MAC 700, Robe Mini Me, Chroma-Q ColorForce 72 and, of course, a healthy dose of ETC Source Fours and Par Cans”.

   With the previous show closing at the Arts on the Saturday evening and All or Nothing opening the following Tuesday, this meant there was a very limited load-in time. Peter comments: “This wasn’t a straight remount of last year’s tour as we’d added additional effects and sequences, so the overall lighting plan needed completely updating. Although we had limited time in the space, I’d thankfully invested in the Capture software so was able to pre-viz a large majority of work ahead of time with my programmer Tom Davis; something that paid in dividends”.

   All or Nothing will run at the Arts Theatre until 11^th March. It was announced yesterday that it would continue its stay in the West End by transferring to the Ambassadors Theatre from 28^th March to 2^nd June.

   Having been nominated for two OffWestEnd Lighting Design Awards in the past month alone, All or Nothing marks Peter’s West End debut. He comments: “There is a certain level of expectation when you’re working in the West End for obvious reasons. Thankfully, I had a great team behind me which included Adam Squire, Tom Davis, Abbi Fearnley, Liam Cleary, Alex Gooding and Elliot Roberts who were nothing short of incredible throughout the entire production process. I always want to say thanks to Louise Hambley, Bryan Raven and everyone else at WL without whom this project wouldn’t have been possible”.

   Photos courtesy of Phil Weedon.

3. White Light Returns to The VAULT Festival 2018

   6 February 2018 09:43 Comments Off on White Light Returns to The VAULT Festival 2018

   Every year, the most exciting theatre companies gather in the tunnels beneath Waterloo Station to take part in the VAULT Festival. The Festival allows artists from all backgrounds to showcase their work in some of London’s most adaptable theatre spaces. This year, there are more than 300 individual shows taking place across 11 performance spaces. Following its work on all of the previous VAULT Festivals, WL has returned once again to offer the complete technical solutions along with the support of its apprentices.

   The Festival was founded in 2012 by Andy George, Tim Wilson and Mat Burt. Andy, the Festival’s Co-Director, comments: “The first VAULT Festival took place in 2012. The idea was to bring together artists who otherwise were struggling to find places they could perform fringe or experimental work and couldn’t afford the big rents of the traditional venues.  VAULT wanted to provide a fair financial platform where artists could present creatively-risky shows and where the sum of the parts was bigger than the individual. To this day, we have always endeavoured to stick to our original ethos of putting the artists, our audience and our staff at the centre of everything we do”.

   The 2018 Festival has grown considerably in comparison to 2012. Andy explains: “The 2012 Festival was three weeks long and showcased around 15 groups of artists. This year, we have over 340 groups of artists presenting work across 8 weeks. There are also 11 theatres, vehicles and pop-up immersive venues. Despite how much we’ve expanded as a festival, we want to ensure we remain true to our guiding principles of trust, opportunity, personability, equality and kindness”.

   Another aspect of the Festival that has remained the same is WL’s involvement. Andy comments: “WL played a huge part in the Festival before the doors even first opened. This year they have provided all of the lighting, control, rigging and SFX for the 11 theatres and pop-up venues (as well as the five bars and Front of House areas). Their support and expertise in site specific and non-conventional spaces has allowed the festival to keep evolving and support the artists of today and tomorrow.

   He adds: “We build all of our theatre venues and bars from scratch. From rigging and trussing, to cabling, to programming; we construct each venue to be able to handle the 340 shows that will take place in the site specific tunnels across the 8 weeks. Each of our theatres will host between 2 – 4 shows per evening, with 30 minute turnarounds between shows, so having the right technical setup means shows can achieve a lot with relatively little”.

   Alongside providing the equipment, WL’s apprentices are once again providing the technical support for the various visiting companies, along with the building of our numerous theatres and venues. He comments: “The VAULT Festival was created with the ambition to provide opportunities; not just for our companies and audiences, but also for everyone we work with. Working with the WL apprentices is an opportunity for us to be able to work with the lighting technicians of the future; they come brimming with huge ambition and a hunger for learning”.

   The Festival opened on 24^th January and will run until 18^th March.

   Andy concludes: “The VAULT Festival continues to grow and grow year on year and we’re amazed at the stage it’s reached already. We’re hugely proud of our relationship with WL and their apprentices and really hope this will continue long into our future”.

   Bryan Raven, WL’s Managing Director, adds: “We are delighted to once again be working on this year’s VAULT Festival. It is one of the few opportunities for up and coming artists to showcase their work and it allows us to play a role in supporting the next generation of theatre-makers”.

   Photos courtesy of VAULT Festival.

4. Ptarmigan and White Light Come Together to Form ITPS

   14 November 2017 12:40 Comments Off on Ptarmigan and White Light Come Together to Form ITPS

   Having worked extensively within the Middle & Far East region, Ptarmigan and White Light have now joined forces to form Integrated Technical Production Services LLC (ITPS): a new company which offers installations, technical support and state-of-the-art technology to venues and projects across the GCC. Based at Marina Plaza, Dubai Marina, ITPS will couple expert teams with the latest technology to provide service and support to past and ongoing projects.

   Ptarmigan is renowned for providing integration and system design to large-scale projects. White Light is the complete technical solution specialist, with more than 45 years industry experience and huge purchasing power and expertise. ITPS will combine the two companies’ greatest strengths in order to offer a unique service within the region.

   WL’s Special Projects Director Simon Needle comments: “We first worked with Ptarmigan back in 2008 when we supplied and installed the technical solutions for the City of Dreams House of Dancing Water Show in Macau along with the Universal Studios Theme Park in Singapore. Over the years, as Ptarmigan has worked on a whole range of system integration projects, we have continued to share resources and ideas in pushing state-of-the-art technology”.

   

   WL’s Simon Needle

   Last year, WL was approached to work on the brand-new theme park in Abu Dhabi and asked Ptarmigan to join forces on the project. WL and Ptarmigan subsequently decided to form ITPS, which will draw on each companies’ strengths for future Projects and opportunities.

   Simon explains: “With ITPS, we will offer three areas of service: local service contracts, integration and installation along with the sale of equipment. Our aim is to offer the complete technical solutions to projects which encompasses all of these”.

   For local service contracts, ITPS will work with buildings such as theatres, theme parks and studio spaces in order to ensure their systems are maintained to the highest standard possible. ITPS’ trained technicians will be able to work closely with clients to create a maintenance plan that ensures their systems will stay in the best possible condition.

   For integration and installations, ITPS’ experienced team of site managers, system designers and installation technicians will offer the most suitable technical solutions to any space. The team will oversee every element of the installation process; from the commissioning stage through to fitting the final fixture. Alongside this, they will offer complete system integration, bringing different technical elements together to ensure they work holistically; allowing a space to achieve its full potential.

   

   ITPS’ Canna Gray

   Possessing strong relationships with some of the world’s largest manufacturers, ITPS will have access to the very latest lighting and AV technology; allowing clients to draw on ground-breaking equipment. ITPS will also offer advice, make suggestions and arrange demonstrations to ensure that everything is perfectly suited to the client’s needs.

   The company will begin operating immediately and is already involved with a range of upcoming projects. Canna Gray, ITPS’ General Manager, comments: “We are really excited about this venture and how we can utilise both companies’ previous experience and skills to drive future projects. We will be offering a service that was previously unavailable in the UAE region and look forward to working with old clients and forming new relationships”.

5. White Light Enrols at Royal Academy of Dramatic Art

   13 November 2017 10:31 Comments Off on White Light Enrols at Royal Academy of Dramatic Art

   The Royal Academy of Dramatic Art (RADA) offers world-leading vocational training for actors, stage managers, designers and technical stagecraft specialists. It was established in 1904 and has built an outstanding reputation as a world-renowned centre of excellence, offering exceptional teaching, strong industry links and the best possible facilities. In order to offer the most influential training possible, the institution has recently partnered with White Light, meaning its lighting students will be equipped with the knowledge and skills required to succeed in such a competitive industry.

   RADA is unique in being the only UK drama school to be founded by the industry that it aims to serve, inspiring a creative, inquiring community. Neil Fraser, RADA’s Director of Technical Training, comments: “To ensure we deliver the highest standards of training and that our education is accessible to all, we rely on the generous support of key industry figures and partners. Having worked with WL previously and knowing their own commitment to training the next generation of theatre practitioners, it seemed like a natural step to move into a partnership together”.

   As part of the partnership, WL will be supporting the technical training of students over the course of the next year. This means the company will supply the equipment on internal productions, offer demonstration equipment for lectures and classes, introduce students to key industry members, as well as give talks regarding the workings of the lighting industry.

   WL’s Managing Director Bryan Raven comments: “This partnership means we are able to combine RADA’s expert teaching with our own experience and resources; resulting in the best education for its students. As seen with our own apprenticeship scheme, we are passionate about seeking out the next generation of theatremakers and those who are the future lifeblood of our industry. By having the most efficient training now, this will benefit them enormously as their careers progress”.

   The partnership will also benefit WL’s existing Apprenticeship scheme, with RADA tutors running masterclasses and the WL apprentices embarking on a training opportunity at RADA in the summer.

   Bryan adds: “There is a fantastic programme already established for the lighting students at RADA this year. That said, as a company, we are open to allowing further collaborative activities should the need arise. Whether it’s work placement opportunities, or a last minute demonstration, we are willing to adapt to the needs of the students”.

   

   Annually RADA delivers lighting for 16 major productions, a festival, four studio productions and numerous extracurricular events. They also collaborate regularly with other Conservatoire for Dance and Drama schools.

   Neil comments: “This is a really exciting opportunity for both organisations to support one another and ensure that the next generation of theatre technicians receive the very best start possible. We are delighted to be working with WL and look forward to starting this important collaboration”.

   Photos courtesy of Linda Carter.

    

6. White Light Has Time in Lewes Light Festival

   2 November 2017 09:33 Comments Off on White Light Has Time in Lewes Light Festival

   LewesLight is a Festival of Light which celebrates the culture, history and environment in and around Lewes and the South Downs through the medium of light, art and design. It is a community-orientated event which was born out of the UNESCO International Year of Light 2015. White Light supported this year’s Festival by supplying a range of lighting fixtures.

   The Festival Community Co-ordinator is Phil Rose. He comments: “This is the third year we’ve run LewesLight and it was definitely the biggest one yet, with an estimated a footfall of over 10,000. Running the event alongside Festival Director Graham Festenstein, we had the idea to create a community festival which was all about Lewes. All of the services, from the volunteers to the lighting designers, is donated and our whole ethos is to create a community of learning and a supportive environment”.

   This year, LewesLight featured 26 installations, all of which were positioned across town. Due to their different locations, each one had its own specific needs of access and power. Phil explains: “This year we tried to compact the route and make it a more streamlined experience for those attending. The theme was that of trade industry and commerce and this saw the route go from the town hall, along the most affluent parts of town, across the main bridge and onto the Cliffe area”.

   It was on Cliffe High Street where the WL fixtures were utilised. Phil states: “Cliffe High Street is a Tudor Street with an array of independent shops. We wanted them to all come together holistically for the Festival and realised that lighting would be a way in which to achieve this. I actually spoke to WL’s Managing Director Bryan Raven at  this year’s PLASA Show about the project and he said the company would help in whatever way they could”.

   When it came to lighting the street, Phil and the LewesLight team had to overcome the practicalities of working outdoors. He explains: “We realised that getting DMX cable in and out of shops would be impossible. Therefore we knew we needed to run a wireless system”.

   As a result, Phil drew on 24 x CORE ColourPoint LED Uplighters. He comments: “Due to the ColourPoints being battery powered, they were ideal for outdoor usage and the fact that they are IP65 rated means they can be used in all weather conditions. The output was also really impressive and brought a street which is usually dead on a night alive with people of all ages”.

   LewesLight also allows local students to work alongside lights in a practical situation. Phil states: “It’s important for us to allow students to plan with the designers, organise access, help with the rigging and set up as this is invaluable experience that is not available on other courses. It’s almost like a mini-apprenticeship for them: they manage the sites, liaise with the designers and premises to deliver the schemes. This year they totally surpassed themselves”.

   The Festival ran from 13-15^th October and will return again next year. Phil adds: “This was another brilliant LewesLight and we were delighted with how all of the community came together to celebrate the town and its history. For us, the event should encourage people to think about lighting in a different way. We are extremely grateful to WL for helping us to achieve this and look forward to working with them again next year”.

   Photos courtesy of James McCauley.

7. White Light Brings Young Frankenstein to Life

   11 October 2017 08:57 Comments Off on White Light Brings Young Frankenstein to Life

   Written by legendary comedian Mel Brooks, Young Frankenstein is the musical comedy based on the Oscar-nominated smash hit film of the same name. Following a run on Broadway in 2007, this hilarious show has now made its way to London and opened last night at the Garrick Theatre. As one of the leading lighting suppliers to the West End, White Light was called upon to provide the lighting equipment.

   The lighting designer for the show is Ben Cracknell, who comments: “I have always been a huge fan of Mel Brooks’ films so was thrilled when I was approached to light this. Both Susan Stroman, the Director and Choreographer, and Mel felt that the humour of the show would work much better in a more intimate Vaudeville style so the show was designed around this concept”.

   Young Frankenstein features a set design by Beowulf Boritt that is centred around a series of painted cloths depicting the locations from a Medical School to a Deserted Railway Station. I wanted my lighting style to pick out the beauty in what, in essence, is a series of paintings. I also wanted to flavour my lighting style with the zaniness that seems to pervade throughout all of Mel’s work!”.

   To achieve this, Ben visited WL in order to draw on the company’s extensive hire inventory. He comments: “The Vaudeville style of the show with its four portals and painted cloths shaped my design significantly. On stage, the biggest challenge was to light the numerous painted cloths in what is a very small amount of space. The cloths have both opaque sections to front light (such as solid buildings and ships) and translucent sections to back light (windows, water, the sky). As a result, I visited WL HQ where I spent a lot of time experimenting with different types of cloth lighting battens”.

   Ben eventually decided to draw on the Robert Juliat DALIS 860. He comments: “I was extremely impressed with the colour and even intensity output from these units, when lighting cloth as close as 50cm and as far away as 2m”. To ensure that all of the intricate details of the cloths were highlighted, Ben drew on four Philips VL 3500s. He explains: “I loaded these with a series of custom ‘mask’ gobos which picked out scenic detail from trees to windows to signs; meaning I could be incredibly selective in how the cloths were lit”.

   Ben also drew on a row of Martin MAC Aura XBs to backlight the cloths along with ColourForce 72s for the furthest upstage and downstage cloths. Ben adds: “The stage layout of portals and cloths meant I divided the stage into horizontal bays of lighting. These were cross-lit by ladders of ETC Source Four Lustr 2s then top-lit by Viper DXs and VL3500 Spots. And, of course, a show like this would not be complete without a fine array of strobes for lighting effects – hence the Martin Atomic 3000s!”.

   The show has now opened to rave reviews and will run in the capital until next February. Ben adds: “This was a fantastic show to work on. I really enjoyed my time at the Garrick, especially working with the Chief Electrician Matt Watling and his team. I would also like to thank my own team, Chris Winn (Programmer), Charlotte Burton (Assistant LD) and Theo Chadha (Production Electrician), along with the team at WL”.

   WL’s Managing Director, Bryan Raven, comments: “We are delighted to supply Young Frankenstein as it embarks on its first ever West End run. We have also supplied Heisenberg which opened on Monday at the Wyndham’s, Ink which recently opened at the Duke of York’s and Venus in Fur which opens at Theatre Royal Haymarket later this month. Our constant investment in the very latest technology, coupled with our renowned customer service, means we are able to provide lighting designers with the support they need on any show”.

   Photos courtesy of Manuel Harlan.

8. Chris Hollier and Andy Cottey Win at Knight of Illumination Awards

   20 September 2017 15:33 Comments Off on Chris Hollier and Andy Cottey Win at Knight of Illumination Awards

   The Knight of Illumination Awards recognise the outstanding achievements of experts in Lighting Design, Video and Graphic Display along with Projection Design. Now in its tenth year, this year’s ceremony took place on Sunday 17th September at the Eventim Apollo in London. Among the 24 designers ‘knighted’ on the evening were Chris Hollier and Andy Cottey who won The Altman Lighting Television Award for Small Production for their work on ITV Sport’s coverage of Euro 2016.

   Last year, Chris and Andy were commissioned by ITV as Lighting Designers for the interior and exterior sets used on the broadcaster’s coverage of the Euro 2016 tournament. Working closely with the sets, designed by Paul Sudlow and Paul McNamara, Chris and Andy had to create a lighting design which would replicate these as well as be practical for on-site use, with the coverage being broadcast live from the Arab World Institute in Paris. White Light’s role on the project was to provide the consultation for the technical design of the studio sets, which included providing the lighting, video, power distribution and crew.

   Chris comments: “For both sets, it was essential that they had a consistent theme and could be enhanced by the city lights twinkling in the background. The equipment choice was essential to deliver this look throughout the tournament, day and night; whether it was the vintage tungsten bulbs festooned around the outdoor set, the MAC Auras that enabled us to match the colour temperature and levels as the weather changed or the waterproof SGM G-Spots that could be left outside for the duration and used to illuminate the trees”.

   The indoor studio used moving head lights, which were a mixture of Martin Professional MAC Auras and ROBE 800 LEDWashes. One of the key features was an 8K resolution video screen, created by mapping two Christie Boxer 30K projectors onto the curved studio set. This was all driven by a d3 4x4pro server.

   Bryan Raven, WL’s Managing Director, comments: “We are absolutely delighted that Chris and Andy have been recognised for their brilliant work on the Euro 2016 coverage. It truly did look stunning when broadcast and, as a company, we are delighted to have played a technical role in helping bring their design to life”.

   More than 500 entertainment technology industry professionals gathered together to celebrate the achievements of the many international lighting and video designers at this year’s KOI Awards. As is now tradition, the final Award of the evening was the Enrico Caironi Lifetime Recognition Award, which was presented to Rick Fisher – the prolific and talented lighting designer who has won multiple awards and critical acclaim in the West End, Broadway and around the world.

   Rick was recognised not only for his achievements in lighting design, but also for his altruistic contributions to industry charities, from his help starting Light Relief to his current work with the technical entertainment charity known as Backup, for which WL Chairman John Simpson is Chair. Rick has also helped guide the Association of Lighting Designers to its current position as the largest body of lighting designers ever assembled. You can read an exclusive interview with Rick here as part of our Leading Light series.

   Photos courtesy of Knight of Illumination Awards.

9. White Light Supports Rose Bruford Graduate Exhibition

   20 June 2017 15:32 Comments Off on White Light Supports Rose Bruford Graduate Exhibition

   

   One of the performances during the Graduate Exhibition.

   Rose Bruford College of Theatre and Performance is London’s International Drama School. Students from over 40 different countries study on the 15 different vocational and professional degree courses, with notable alumni including Gary Oldman, Hayley Squires and Tom Baker. Every year, the College hosts a Graduate Exhibition in order to give its graduating students a launchpad into the industry. Having worked with the College for over ten years now, White Light was called upon to provide the complete technical solutions.

   This year’s Graduate Exhibition was named Beginner’s Call and took place at the Ugly Duck in central London. The Head of Production was Anthony Sammut, the Production Manager was Toscane Luckett whilst Sam Jackson was the Technical Manager. Sam states: “My role on the exhibition was to work closely with Ollie Brennan (Technical Supervisor) and oversee the technical elements. This was one of most ambitious showcases we’ve ever held, with the upper two floors showcasing our technical students’ work and the ground floor being used for four performances in rep. We chose the Ugly Duck as it’s quite an open venue and would allow us to showcase all of the students’ work”.

   

   Sam had to create a technical infrastructure including a power and network system design that would not only work practically within that space but highlight the work on display. Sam comments: “We made several site visits down to the space to see how we could use it. It took us around six weeks of planning to finalise a design along with a kit list which we knew would be ideal for the exhibition. It was at this point we approached White Light”.

   Working closely with WL’s Senior Hire Co-Ordinator Dan Last, Sam drew on an extensive range of WL’s technical equipment. Sam states: “We approached WL as we knew they were an organisation who could offer the complete technical solutions. As the showcase is attended by industry professionals whom our students are hoping to impress, we need the standards to be as high as possible”.

   

   The students speak to industry professionals.

   
   For the lighting, WL supplied Chroma Q Color Force 72 LED Battens, Rainbow Scrollers, Selecon Fresnels, Minuette Fresnels, ETC Source Four Juniors and Coemar Silver Parlites. These were all programmed on an ETC Ion 1K Console. Sam adds: “It was important that we had enough lighting for the actual exhibition itself and that we could highlight the work on display. However, we also had to ensure that the lighting designers working on the performances on the ground floor had enough options to achieve their vision”.

   Sam also worked closely with Oscar Cotran, who was Head of Sound for the performances and drew on WL’s extensive audio inventory. Sam states: “We employed a Dante system which drew on EMS 51, 61 and 81 Loudspeakers, EMS 115 Sub Bass along with Shure Wireless Mics. This had a particular importance for the musical performances and it ensured that there was even audio coverage throughout the space”.

   WL also supplied the entire rigging system, which included Prolyte X30D and H30X trusses, along with Doughty Clamps, scaffold clamps and even sand bags!

   

   From left: Bryan Raven (WL), Sam Jackson (Technical Manager), Andy George (VAULT Festival) and Nick Hunt (Rose Bruford).

   Beginner’s Call ran from 14^th-17^th June and the work on display came from seventy-nine students graduating from seven courses. With the Ugly Duck being in constant use, this meant that Sam and the team had a limited time to prepare for the event – despite the vast amount of equipment involved. He states: “We literally had two days in which to build the infrastructure, set up the equipment, drape off the dressing rooms, install the emergency lights along with a thousand and one other things! That’s why it was so vital to plan beforehand and assure that we had drawn on the most reliable technology”.

   This marks another student showcase that WL has supported, having worked with Rose Bruford since 2004. Sam adds: “What was so great about WL is that they supplied all of the technical equipment. From the largest lighting fixtures to the cables to the speaker stands, they had absolutely everything we required. The service they provided was fantastic, the staff were extremely friendly and their equipment allowed our graduates to get the most out of their work”.

   Photos courtesy of Alec Brand, Ben Wilkin, Michael O’Reilly and Sam Jackson.

10. White Light Sets Sparkular Flying at ABTT Theatre Awards

    15 June 2017 08:18 Comments Off on White Light Sets Sparkular Flying at ABTT Theatre Awards

    

    The award-winning Sparkular.

    The Association of British Theatre Technicians Theatre Awards 2017 took place on Tuesday 6th June, following the first day of the ABTT Theatre Show at Alexandra Palace, London. With drinks in the venue’s impressive Palm Court, followed by a ceremony in the Londesborough Room, the event provided the perfect opportunity for exhibitors and visitors to gather and celebrate the industry’s most innovative technology. Among the winners of the evening was Sparkular, which was the recipient of the Widget of the Year Award. The product was displayed on the White Light stand, with the company being an official distributor.

    Sparkular offers a phenomenal indoor fireworks display without the firework risks. It has taken pyrotechnics to the most innovative levels possible as it contains no explosive or hazardous content. There is the ability to control duration and height as well as create stunning displays which synchronise with music. There is also the option to create displays with multiple machines, all of which can be controlled by one remote control.

    

    WL’s Mark Morley accepting the award.

    On announcing Sparkular as the recipient of the Widget of the Year Award, the ABTT judges commented: “Often the Widget goes to an unobtrusive, almost subtle, product. That said, it is always a product that becomes an invaluable tool to the technician working in live performance. The ABTT Widget Award 2017 winner will certainly assist the technician by enabling a much safer approach to the realisation of an effect but it is by no means subtle! The DMX controlled Sparkular, which was displayed by WL, produces high spark effects, similar to those witnessed with pyrotechnics and industrial angle grinding. Despite this, there are no explosive materials used to create the effect, and therefore no hot fall out, making the effect suitable for a wide range of environments and situations”.

    Mark Morley, WL’s Business Development Manager, comments: “We were absolutely delighted to be this year’s recipient of the ABTT Widget Award. Sparkular is a product that, as soon as we saw it, we knew we wanted to add it to our extensive inventory. It’s a revolutionary piece of equipment in the sense that it offers all of the spectacular effects of pyrotechnics yet does so in a completely safe manner, removing the additional precautions usually required”.

    

    Sparkular in action at this year’s BRIT Awards at the O2 Arena. 

    
    As one of the few companies distributing Sparkular, this means that WL has the opportunity to offer exclusive deals on this ground-breaking product. Mark adds: “The feedback we received from both ABTT and PLASA Leeds was how impressive the product is and the sheer amazement of how something so compact can produce such dazzling effects. As we have a whole range of Sparkulars available for both hire and purchase, we are in a position to provide those interested with offers that simply aren’t available anywhere else”.
    This year marked the 39th year that WL has exhibited at the ABTT Theatre Show, with the company being the only exhibitor to have been present at every single show.

    Bryan Raven, WL’s Managing Director, comments: “This was another successful show and ABTT seems to have found the perfect home at Alexandra Palace. It was great to catch up with old friends, make new contacts and, of course, display an innovation product that is now recognised as award-winning”.

    Photos courtesy of ABTT and Sparks-fx.