Tag Archive: Paul Walmsley

1. White Light Takes a Trip Down Avenue Q for UK Tour

   1 February 2019 10:10 1 Comment

   

   White Light has supplied the lighting equipment on the Tony Award-winning musical Avenue Q which is currently embarking on a UK Tour.

   Avenue Q is a laugh-out-loud musical featuring puppets who tell the story of recent college graduate Princeton who moves into a shabby New York apartment on Avenue Q. Here, he meets a range of colourful characters who help him discover his true purpose in life. The production is produced by Selladoor Worldwide and features a lighting design by Charlie Morgan Jones. Charlie comments: “This is the fifth time I’ve lit the show, having worked on previous UK tours and even a Hong Kong run. Whereas this time the show remains just as hilarious, we have in fact completely revamped the lighting rig”.

   Prior to the show, Charlie sat down with Director Cressida Carre and Set Designer Richard Evans to talk about the look and feel of the show. Charlie comments: “Our brief was quite simple – it had to be bright, colourful and comic. Although the production has evolved over the last four years, we have kept the same ethos throughout – which is to provide every audience member with a side-splitting experience”.

   Part of this evolution includes the lighting rig itself, which has undergone a large revamp with this latest version of the show. Charlie explains: “Technology has moved forward a lot in the past few years and I wanted this to be reflected in the design. Now, for the first time, we have an entirely LED rig overhead”.

   

   For his ideal rig, Charlie approached WL and worked closely with Business Development Manager Jonathan Haynes and Senior Account Handler Dan Last. He comments: “We replaced the fresnels that we previously had with brand-new ETC Lustr 2s. These are used for the set dressing at front of house and backlighting for the whole stage. They also give us far more options than a standard fresnel would. For instance, in the song ‘If You Were Gay’, where we had only two colours before, we are now able to use every colour from the pride rainbow flag. Similarly, as the day gets longer, we’re able to move through the entire colours of the day, from sunrise to sunset and everything in between; with these fixtures giving us the scope to do that”.

   Charlie has also drawn heavily on the Vari*Lite 2600s which are a new fixture that WL recently invested in and were used for the first time on Charlie’s previous show, Andrew Lloyd Webber’s Unmasked at The Other Palace. Charlie comments: “When I used the 2600s, I was simply blown away by them. They are a fantastic fixture that really allow me to achieve the crisp brightness and colour I’m constantly striving for. Once I’d used them for the first time, I literally redrew the lighting plans for Avenue Q to include them in the rig!”.

   Whilst Charlie has drawn on a range of new fixtures, the show still relies heavily on followspotting; something he had to incorporate during his design and the tech period. He comments: “The set design is nothing short of beautiful but it is only four meters up stage so is very present! However, there are times in the show when you want to lose the street setting and focus solely on the puppets. Therefore, I had to combat this through some very intricate positioning. The lighting also controls the automation of the set doors on this version so I’ve had to ensure all the different elements work in unison!

   

   He adds: “I am absolutely delighted with the rig we’ve put together for Avenue Q and know this will look the best it’s ever been. Fortunately, for all my recent shows I’ve had a brilliant team with me every step of the way, which includes Programmer Paul Walmsley, Production Electricians Toby Cartmell and Chris Gunnell, Chief LX Jack Ramplin, LX2 Dan Chalk and the original Avenue Q Associate LD George Smith”.

   The show marks an extremely busy few weeks for Charlie, who in the past two months has also worked on Andrew Lloyd Webber’s Unmasked (The Other Palace Theatre) and The Lady Vanishes (UK Tour). He is also preparing for his latest tour, The Shy Manifesto. For all of these productions, WL has supplied the lighting equipment.

   Charlie concludes: “I am extremely grateful with the brilliant service I have received once again from WL on all four shows I’ve recently lit. Nothing is ever too much and they are always on the end of the phone, eager to help in any situation. I look forward to continue working with them throughout the year”.

   Photos courtesy of Matt Martin.

2. White Light in the Picture for Canon Camera Launch

   18 October 2018 10:16 Leave a Comment

   

   Canon recently held the launch of its new camera the EOS R at Shoreditch Electric Light Station, London. The camera giants invited journalists along to take part in an experiential experience in which they were transported to a utopian land 400 years in the future. The experience was produced by award-winning theatre company Les Enfants Terribles, known for their work on Alice’s Adventures Underground. Having provided the lighting on a range of immersive projects, White Light was called upon to supply the equipment for this particular launch.

   The lighting designer for the event was Charlie Morgan Jones, who comments: “Canon wanted to launch their new camera yet do so in a way that was interactive and provided the journalists in attendance with an unforgettable experience. Les Enfants came up with the concept that a Canon ambassador was lost in the future and it was down to the invited journalists to ‘find her’. The set design team created a variety of spaces, including the Lab, Missing Persons Room, Museum of Curiosity, Worker’s Space and the Gym; each of which contained clues and potential pointers as to where the ambassador might be. The finale is that they find her in a space named Utopia and she does a beautiful aerial act which they photograph using the new Canon camera, thus allowing them to try out this latest model and all of its settings”.

   Charlie’s own brief was to create a lighting design that not only helped tell the story and add to the immersive experience but was also allow the camera to take the best photos possible. Charlie comments: “I’ve never done an event like this before where the lighting had to be so precise in terms of hitting certain lighting levels whilst at the same time retain my own aesthetic for the live audience. The team from Canon actually came round with a light meter to ensure we were hitting the exact levels and we often had to adjust our lighting brightness accordingly”.

   When Charlie first visited the site, it was a complete empty space. Using only the renderings and drawings he had, he approached the WL team and worked closely with Jonathan Haynes and Jim Dewhirst to obtain the exact fixtures he required. He explains: “This was a very unique project in the sense that it was very ‘theatrical’ yet wasn’t taking place in a theatre space as it were. After speaking with WL, I decided to draw on the ETC Source Four Minis which proved invaluable for the smaller spaces where we simply didn’t have the space for a large rig. A lot of the rooms required powerful lighting yet for this to be done discretely and I feel the Minis are the only fixture that are able to achieve this”.

   The largest space used in the experience was the Utopia area. It was here where the entire launch would culminate, with an aerial performance from the ambassador. Charlie explains: “The biggest feature in Utopia was the sun, which was a monster to create. It comprised of 19 par cans, 32 pin spots and a lot of LED tape (although I suspect my Chief LX Paul Walmsley and his masterful electrics team secretly loved making it!). The space also utilised 8 x MAC III Performance, 3 x MAC TW1s and a range of Robert Juliat DALIS”. Over the main acting space, 14 x ETC Lustr 2s provided general coverage, acting as a ‘big light’ to ensure the cast could be seen clearly by the camera.

   As with a lot of events taking place in bespoke environments, the set up time for the project was extremely tight. Charlie explains: “We had three days to set everything up and we were working alongside the construction team who were simultaneously building the set. Also, due to the fact that there was very little free space in the main areas, we actually had to position the lighting desk in another room, meaning all the programming was blind. That said, the Lighting Programmer, Shane Button, was fantastic and it often involved a lot of trial and error with me speaking down a radio to him, acting as his eyes. I was really lucky to be surrounded by a brilliant team, including my right hand man LX Paul Walmsley as well as Charlie Hayday, Gareth Clough, Clancy Flynn and Paul Salmon who were all equally fantastic!”.

   The launch was a huge success, attracting journalists from across the globe. It also marks yet another example of WL working with Charlie. Charlie comments: “This was a fantastic project to work on and unlike anything I’ve ever lit before. I want to say a huge thanks to all the WL team for being so accommodating and for offering guidance from the initial planning stages, all the way through to final delivery”.

   Photos courtesy of Charlie Morgan Jones and Canon Ambassadors.

3. White Light Works Its Magic on Derren Brown: Underground

   12 June 2018 09:49 Leave a Comment

   

   

   Derren Brown, the multi-award winning master of mind control and psychological illusion, wowed audiences in London last year with his mesmerising show Underground. The show originally ran at the Charing Cross Theatre and then the Playhouse Theatre in the West End. The show has recently returned for a nationwide tour of the UK and Ireland. Having supplied the original London production, White Light was called upon to provide the lighting for this latest tour.

   Derren Brown: Underground is directed by Andrew O’Connor and Andy Nyman and features a lighting design by Charlie Morgan Jones. Charlie comments: “When I was first approached to light Underground, we talked a lot about bold looks. I’m a huge fan of the Great British Backlight so was determined to throw in some epic scenes from the up stage position. The Set Designer Will Bowen had created some beautiful Victorian drapes which I wanted to light in different colours; dependent on the various sections of the show. It was also really important to maintain the focus on Derren so I was conscious of drawing on kit that was able to close in on different sections of the stage with precision and subtly. I was also keen to light it very theatrically, giving the performance an extra texture”.

   To achieve this look, Charlie approached WL to supply him with his ideal rig. He explains: “For the show, I’ve drawn on a range of Martin MAC Auras, which are great units because of their size. A lot of the stages on tour are fairly shallow and the LX bars needed to fly in fairly low without seeing any noses. The show also uses ETC ColourSource Sports and a plethora of ETC Source Four Minis”.

   Whereas a lot of West End shows have to significantly change when embarking on a tour, this wasn’t the case for Derren Brown: Underground. Charlie explains: “The West End version of the show was actually the largest revamp that Underground when through in terms of lighting. We kept the Martin MAC Auras from the previous UK tour but added in ETC ColourSource Spots along with some clam shell footlights. We’ve then gone on to keep all of this for the 2018 tour, which means that audiences across the UK are seeing a carbon copy of the West End version”.

   That said, as with any touring production visiting different venues on a weekly basis, Charlie had to adapt his design slightly for each theatre. He explains: “The main thing that’s different in every venue is the followspots and their operators. They have such an important job as they provide all of Derrren’s key lighting. That said, we’ve been very lucky on the tour as we’ve only encountered really great people”.

   The show opened in Liverpool back in April and has visited Eastbourne, Hull, Nottingham, Cardiff and Dublin to name but a few. It is currently in Bournemouth at the Pavilion Theatre.

   Charlie concludes: “I’ve loved every minute of working on Derren Brown: Underground. It’s not only a fantastic show but I’m surrounded by a brilliant team including Paul Walmsley, my amazing Programmer, and Andy Murrell, the Chief LX and Touring Relighter. Without them the show wouldn’t happen. I also want to thank the WL team for their support on every stage of this production”.

   Photos courtesy of Mark Douet.

4. White Light Goes Inside Pussy Riot at Saatchi Gallery

   24 November 2017 10:45 Comments Off on White Light Goes Inside Pussy Riot at Saatchi Gallery

   Created by the Olivier-nominated Les Enfants Terribles, Inside Pussy Riot is inspired by the all-female punk rock group who staged a protest inside Moscow’s Cathedral of Christ the Saviour in 2012. This immersive theatre experience is currently taking place at the Saatchi Gallery to coincide with their Art Riot exhibition. Having supplied a range of immersive theatre projects already this year, White Light was called upon to provide the lighting equipment.

   Inside Pussy Riot invites audience members to pull on their balaclavas, stand in the dock and experience the realities of imprisonment. The lighting designer for the show is Charlie Morgan Jones. He comments: “Inside Pussy Riot takes its audience through the complete experience of Nadya Tolokonnikova’s trials and tribulations as the founder of Pussy Riot. At only an hour long, it’s extremely ambitious; as are all Les Enfants’ projects”.

   The show takes place across two galleries inside the Saatchi Gallery within a multi-purpose set. Charlie explains: “There are numerous locations used throughout the piece, such as the Cathedral, the police station, the courts along with the prison. Part of my role as the lighting designer was to help define each location. Similarly, after speaking with Les Enfants and the set designer in the initial planning stages, we decided to create a sense of heightened reality. There are a lot of scenes that are deliberately absurdist (reflecting a lot of the situations the Pussy Riot group found themselves in) so this felt like an appropriate choice”.

   Prior to the show opening, Charlie made two site visits in order to assess the space and begin formulating his design. He comments: “Whilst I knew what feel I wanted to create, with a lot of shows like this, it’s about adapting to what is being created. As we had an empty space prior to the tech, I had to wait until the set was built and then adapt my design as we moved forward”.

   Working closely with Production Electrician Paul Walmsley, Charlie approached WL to supply him with the kit he required. He comments: “I drew heavily on the ETC Source Four Minis, which, for me, are a fantastic replacement for birdies as they have that extra ability to focus. I also positioned a series of light bulbs throughout the space along with fluorescents (in particular for the police scene) and a range of LED tape.

   He continues: “Behind the stain glass window in the Cathedral there are a range of EvenLED panels. For the window in the prison, I used a range of ETC Source Fours with beam benders. I also drew on ETC Source Four Lustrs to provide additional colour where needed. We can’t actually rig from the Saatchi ceiling so we had to implement our own rigging points in order to position the fixtures as required”.

   Despite the ambitious nature of the show, Charlie and the LX team had a very limited time in which to set up the equipment. He comments: “From the first time I stepped into the space to the opening night, we had a week and a half to bring everything together. It was an extremely intense period but I thankfully had a brilliant team working behind me, which included a lot of Rose Bruford graduates. Similarly, the guys at WL were once again fantastic, offering suggestions and insight whenever we needed it”.

   The show has now opened and will run until 24^th December.

   Jonathan Haynes, WL’s Business Development Manager, comments: “We are delighted to work with Charlie and the rest of his team on Inside Pussy Riot. Like the previous immersive shows we have supplied, it’s an extremely unique production that required a very specific technical set-up; something we were able to support”.

   Photos courtesy of Kenny Mathieson.

5. A Day in the Life…Charlie Morgan Jones Joins Derren Brown: Underground

   13 March 2017 12:03 Comments Off on A Day in the Life…Charlie Morgan Jones Joins Derren Brown: Underground

   

   Charlie Morgan Jones

   It’s a miserable day in the capital. Rain lashes down hard on a sea of hooded heads and a multitude of umbrellas. Embankment is particularly busy yet it seems to quieten somewhat towards the Charing Cross tunnel. The tunnel, along with a series of cafes, restaurants and even a nightclub, is home to the Charing Cross Theatre. Today marks the first preview of its latest show, Derren Brown: Underground. The production is a workshop collection of some of the very best of Derren’s previous stage work which he is developing for future overseas productions. We’re here to spend a day with the show’s lighting designer, Charlie Morgan Jones, who offers us an insight into what a day in his life looks like…

   Upon entering the theatre, it’s all stations go. People are running round on stage, marking spots, moving props and making sure everything is just so. Charlie explains: “As it’s our first preview this evening, today is all about getting ready for that”. Charlie is positioned a few rows back from the stage on a custom-made lighting desk which is hosting a range of Starbucks coffee cups, several notepads and even an empty packet of grapes: “We decided to go healthy yesterday as it’s very easy to just constantly gorge on junk food when you’re in tech. As a result, when the crew came up to see if we had any treats, they were left feeling rather disappointed!”.

   

   The theatre awaits…

   Charlie is sat next to Paul Walmsley who is programming Derren Brown: Underground; with this show marking their 20th collaboration. He comments: “I work really well with Paul. He just gets me. When I see something on stage and I inherently pull a particular look, Paul knows what needs to be changed. We have a great working relationship and when I found out I was working on this show, I knew I wanted him on board”. Charlie was approached for the show by John Dalston, the General Manager, who has worked with him before. However, this is the first time that John has collaborated with Charlie as an LD. He comments: “When I worked with John it was a few years ago and I was a board operator. As I’ve managed to grow my portfolio over the past few years, I’ve almost grown up before his very eyes. Therefore, I was delighted when he asked me to light this show”.

   As preparation, Charlie immersed himself into the world of Derren Brown. He spent hours online watching videos of the psychological illusionist and admits he was “utterly blown away by what I saw”. Yet how does he prepare to light a show filled with extraordinary moments , in comparison to say a traditional theatre production? For him, it’s exactly the same: “I don’t think of shows as completely separate entities i.e. this is theatre, this is opera, this is psychological illusion. Rather I approach each one with the same amount of flexibility”.

   

   Charlie’s lighting plan for Derren Brown: Underground.

   The rehearsals took place at the Dome Room above Her Majesty’s Theatre in London’s West End. Charlie attended a series of these along with a couple of run-throughs. He was also part of all of the production meetings. He comments: “The production meetings were just fantastic. As this is a show filled with crossroads, as opposed to working from a set script, there are so many avenues in which it can go. It was fantastic to hear all of the creative ideas flowing, as this ultimately had an influence on my own design”.

   It seems as if being part of a team who regularly work create Derren’s work has been a good experience for Charlie. He notes: “One thing with Derren is that he is constantly trying to push himself. There is this perpetual strive to make their work better. As an artist, this is a level you should constantly be aiming towards”. This level of perfection has clearly transcended into the technical rehearsals in which the directors, Andrew O’Connor and Andy Nyman, find themselves sitting in various seats throughout the auditorium to ensure that everyone in attendance can see what’s taking place on stage. Charlie states: “It’s the surprise, confusion and the mystique that those attending a show want to experience. My role is helping to heighten this and ensure the audience are engaged with every single section of the show”.

   

   The stage is set…

   When we join Charlie, he has just finished the technical rehearsal and is about to embark on the dress run. He comments: “We got into the venue on Sunday (three days ago) and began to set everything up straight away. Once the fixtures were in place, we began to work through the show and recreate my design on stage”.

   It was at this point where Charlie first realised the major difference between this and your more traditional theatre productions: “We’re essentially lighting the various moments on stage. When we notice something that needs amending or I spot something I would like to change, we adjust this and then have to run the scene from the top. However, as some of the sequences are ten, fifteen even twenty minutes long, this can be extremely time consuming when trying to run a tech”. Once everything is in place, Charlie then talks the director through his various plots as the show begins to take shape: “I sit down with both Andrew and Andy and run them through the cues to ensure they aren’t surprised by any of my sets as well as hear their own thoughts. Whereas I normally allow myself some flexibility with a rig, I did more so than usual on this particular production due to the fact that the entire production is so flexible; with the audience participation aspect meaning things are changing all of the time”.

   

   Derren enthralls his audience from the very start.

   Talk naturally moves onto the rig that Charlie has drawn on. Supplied by WL, it features a range of his favourite fixtures along with those he feels are needed on a show like this. He comments: “I have used the Martin MAC TW1s and they really do a lot of work on this show. For me, I just love this fixture. It’s reliable, flexible and the output is incredible. I also love the colour”. It’s at this point where Paul points out that he’s not their biggest fan but Charlie is adamant of their importance: “I was one of the many designers who was outraged when I heard they were discontinuing the units. Thankfully, I wasn’t the only one and the petition hundreds of LDs signed ensured that they continued making them”. Around the space is a series of ETC Source Four Minis which have been specifically chosen to illuminate certain props that are an integral part of the show (the fixtures being a suggestion of Production Electrician Andy Murrell). The entire front of house consists of ETC Source Fours whereas Par Cans are used as eye candy and for the pre-set. All of this is programmed on an ETC Ion Desk, something that Charlie says he “understands”: “It makes a difference using a desk that you are comfortable with and knowing, more or less, how it works”. Alongside this, there is are two followspots on Derren throughout the entire show. Charlie adds: “A lot of my role is creating a text and mood for each scene whilst keeping the focus on Derren. With the followspot permanently fixed on him, I have to ensure that the entire stage is brought to life and it all plays an integral part”.

   As we’re speaking, Derren himself enters. And, as he does, he makes sure he acknowledges everyone present before immediately heading straight to the stage to rehearse some key moments for tonight’s show. Charlie adds: “Derren, and in fact everyone on this show, has been an absolute pleasure to work with. It really is an incredibly friendly company and I’m relishing every moment. The theatre itself is also a great venue for an LD. I particularly love the textured brick which forms the set. It’s a great canvas to work on”.

   

   Charlie’s desk…

   Derren and director Andrew run through certain sections and occasionally ask Charlie to light a certain moment or change something slightly. It’s the final moments of tweaking before a live audience arrives for the first ever live run through. Charlie notes: “This is a great show but it needs an audience. It’s 99% audience participation and we’ve only seen it with Derren so far. Today will be the real test to see how they respond to it”.

   So after the quickest of lunch breaks, we find ourselves back to an invited audience who are eagerly awaiting the start of the show. The pre-set is the subtlest of oranges which perfectly sets the tone before the start of the show. Charlie states: “As an LD, I think you can tell different designer’s various work. With me, I have a specific colour palette which I work from in order to create a look that is unique to me”.

   

   Another mind-blowing show from the psycholoical illusionist.

   The show begins and while we obviously cannot give too much away, it’s exactly what you’d expect from Derren Brown. The whole 90 minutes are filled with gasps, awe and mesmerisation as the audience witnesses the seemingly impossible take place right in front of them. After dazzling everyone in attendance, Derren takes his final bow and exits the stage. The houselights come up and the audience begins to depart. And while they may get to leave, the crew’s work has only just begun; in particular Charlie’s. He is sat at the back going over his notes with Paul and Andrew, talking through the various sections and what their thoughts were. Once the auditorium is cleared, he finds himself on the stage, getting into positions and working out the best way to light these now an audience has participated.

   He eventually stops and allows himself a post-show moment of contemplation: “Overall, thanks largely to the amazing team around me, that went really well for a dress. There were no major disasters and the audience’s reaction was exactly what we wanted. However, there are still some tweaks to be made. I’m not sure whether it’s my background in music but if a cue is one second long and would be better at 0.8 seconds then it should be changed. I’m not saying I’m a perfectionist – I just know when something works for me”. And judging by the look of the show and the audience’s reaction so far, a lot has definitely worked on this particular production…

   Photos courtesy of Paul Walmsley.