Tag Archive: Selladoor Productions

1. White Light Helps Bring Frankenstein to Life

   10 February 2020 13:19 Leave a Comment

   

   White Light has supplied the lighting equipment for Frankenstein which is currently touring the UK. 

   Produced by Selladoor Productions, Frankenstein is based on the classic novel by Mary Shelley, telling the story of a young scientist who manages to breathe life into a gruesome body. This new production is adapted by Rona Munro and features a lighting design by Grant Anderson. Grant comments: “I had several aims with my design on Frankenstein. On the one hand, I had to create something that was dynamic, fast-moving and helped create a sense of multiple locations. We wanted to be able to create moments of real darkness and horror in Frankenstein’s lab but also capture beautiful vistas of the misty, cloud covered Alps. From a practical standpoint, we knew we had to make something that could tour in one truck, load in first thing at a brand-new venue and be able to perform that evening”.

   As this was a brand-new production, this meant that it was constantly evolving throughout the rehearsal process. Grant explains: “As this version of Frankenstein had never been on its feet before, I was in development constantly with the rest of the creative team throughout the R&D process. That was another reason why the rig had to be dynamic. I didn’t want to hinder the process of creativity in the room by constraining us to set looks. We were very fortunate as creatives to have a playground in which to work and let the play evolve into what it eventually became”. 

   

   Following the development process, Grant approached WL to supply him with the fixtures that would fulfil each of his specific requirements. He comments: “I wanted to be able to create the feel of ice and the deep Artic so relied heavily on the arc sources of the Martin MAC Vipers and white chipped Martin Aura LEDs.  I specified these units as they are naturally within the ballpark of the colour temperatures I planned on using and, with the set being whites and greys, it gave me a very clean place from which to start.  ETC Source 4 Lustrs are the workhorse front out house alongside an additional two auras in the box booms. The design is particularly effective in its use of practicals as they help bring the space alive and allow me to delineate really clearly for the audience where we are in the play.”

   Grant continues: “In terms of touring, having an all moving light rig overhead means there is no focus time required from ladders for the team from venue to venue. Whilst you still have to update the presets, this can be done from the comfort and safety of the production desk, which in turn allows other departments valuable stage time. Similarly, having an all LED front of house allows for a more dynamic palette from fewer sources within the time constrains of the tour”.

   

   Frankenstein opened last February and will conclude its year-long tour in Aylesbury next month.

   Grant concludes: “I’d just like to say thanks to all of my lighting team and the team at Perth Theatre who helped with the practicals. Massive thanks also to WL for their help supplying me with the fixtures I need”.

   Photos courtesy of Tommy Ga-Ken Wan.

2. Leading Light with…Charlie Morgan Jones – Part 2

   5 April 2018 10:33 Comments Off on Leading Light with…Charlie Morgan Jones – Part 2

   

   3am at Leicester CURVE was Charlie’s first professional production after graduating.

   Charlie graduated and was left to find his own way in the big wide world. It was here where his work at the Vaudeville would prove useful: “I emailed every single producer I knew, along with all the DSMs I’d worked with from my time at the Vaudeville. They were hugely supportive and told me who to get in touch with. It was in those early stages that I’d take unpaid leave to go and work on shows on the London fringe. It was a case of slowly, but surely, getting my name out there”.

   Charlie’s first show out of university was 3am for the Curve Young Company at Leicester’s CURVE Theatre. He recalls:  “I was put forward by Rachel Nicholson who was the Head of Creative Lighting Control and was immensely lucky to go straight into a show like that. I really felt like a ‘professional lighting designer’ as I had a programmer and stage management team”. Charlie would the continue to work wherever he could. He recalls: “I did a show at the Edinburgh Fringe called Jump which was a brilliant experience. I also lit a show at The Met in Bury and remember just jumping on a train, heading up to Manchester and saying ‘I’m here to light your show’. At that age, you just turn up and hope for the best. Then again, you need to have that go-getter attitude as people are only willing to employ those with experience and that was something I needed”.

   It wouldn’t be long until Charlie got what he considers to be his first ‘big break’: “I worked on Dialogues des Carmelites at the Birmingham Conservatoire and the Director was Michael Barry.  I was at his house for dinner and he showed me a prop from the Ring Cycle which he recently directed. As I knew very little about him, I presumed it was something he’d worked on at the Birmingham Local Opera. Fortunately I didn’t say anything out loud as Michael quickly informed me that it was a show he’d worked on at the Royal Opera House! A quick Google under the table and I realised he was quite a big name! We got on like a house on fire and Michael recommended me for various jobs including the Polish National Opera”. It was also at the Conservatoire where Charlie met Jack Ramplin who Charlie has used on lots of shows as his Associate. Charlie comments: “Michael foresaw a long creative relationship between Jack and I – he wasn’t wrong!”.

   Charlie’s second ‘big break’ was to come shortly after at the Duchess Theatre in London’s West End. He recalls: “I was asked to light Cool Rider, which is the sequel to Grease. It was an all-singing, all-dancing musical with so much happening all the time – the first number had 80 lighting cues! For this show, I worked with an Associate called George Smith who was fantastic to bat ideas around with. It really changed my way of working and brought out the best in my lighting”. Shortly after this, Charlie and George formed Smith+Jones LX. Charlie comments: “We became friends but he sadly (for me) lives out in Macau now for work. That said, we’re still as close as ever, and I always visit him when I go to the Far East for work”.

   

                                                  Charlie lit Cool Rider at the Duchess Theatre in London’s West End.

   The third break of Charlie’s was Avenue Q; the puppeted musical which is also one of Broadway’s longest running musicals. Charlie recalls: “I had worked with production company Selladoor Productions in their early days and remember touring Ibsen’s Ghost in the back of a van. They asked me back to light Avenue Q which was doing a three week run in Greenwich in April 2014. The run sold really well and got a lot of people talking – so much so that it turned into a six month tour. It then returned for a second tour in 2015, a third tour in 2016 and it’s recently been announced that it’s coming back next year. It was one of those shows that just ‘became a thing’ – when I told people I was lighting it, they were really impressed. It also got me an agent and opened so many doors for me as people were now able to see my work”.

   

                        Little Shop of Horrors is a personal highlight for Charlie.

   Whereas these are Charlie’s ‘big breaks’, I ask him if any other shows that standout. Safe to say, he has a fair few: “Little Shop of Horrors definitely sticks in the mind. Everything on this production just felt ‘right’ and all the creatives just clicked. We wanted the show to be zany, cartoony and over the top; similar to the feel of the film. I remember being sat in tech thinking this should be spectacular and it was. It was great to be a part of and the highlight was when it visited the New Theatre in Cardiff where I used to see shows as a kid. It was at that point when I was confident in telling people that I was a lighting designer”.

   Other shows include Derren Brown: Underground which Charlie describes as  “incredibly bizarre as it was a huge name and another show that everyone knows and recognises. It’s also amazing that it’s going to the Wales Millennium Centre which is where it all started in a sense – I can’t wait for mum and dad to see it!”. The Polish National Opera is another highlight of Charlie’s. He recalls: “I was the only non-Polish speaker so it was the case of being thrown in at the deep end. That said, I spent a lot of summers in Poland as a child and can understand the basics so was able to communicate with Mariusz the director”.

   

                     Macbeth at Theatre Severn was lit by Charlie.

   Charlie has managed to achieve a lot in a short time and, while it’s largely down to a hard-working ethos, he has been lucky enough to have the support and influence of some lighting legends. He comments: “As part of my drama course at college, we went to see the National Theatre’s The Caucasian Chalk Circle which Paule Constable had lit (you can read her Leading Light here). I actually phoned my dad during the interval saying how amazing I thought the lighting was; it was a character within itself. Almost without realising, Paule had become an influence. Flash forward a few years and I was back at the Millennium Centre working in between uni terms. It was 2010 and I was followspotting on the new Les Misérables which Paule had lit. When I was back in Wales, I went over to the production desk and said hello and she was just the most approachable and friendly person. We went out for lunch and she told me everything I needed to know about lighting. Another person who’s been a huge help is Rick Fisher (you can read his Leading Light here). During my second year at Bruford, he gave a talk and was kind enough to give me his email address. I emailed him that night (very eager!) asking if I could come and work with him on a show. He was lighting The Fantasticks at the Duchess Theatre and I sat behind Rick and the programmer and learned so much. I even got credited in the programme as Assistant to the Lighting Designer! Ultimately, both Paule and Rick are incredibly talented and equally kind individuals and I also show the same level of support to anyone who approaches me for advice”.

   Listening to Charlie talk about his journey and career, it’s easy to forget that he is still extremely young (not even 30). So what aims does he have for the future? He answers: “When I was 14/15, my main aim was to solely light West End shows. I’ve now had eight productions in the West End so my goals have changed slightly (as they should). I would like to light more dance and would definitely like to work at the English National Opera. I think it’s important to remember that the role of lighting designers is changing also. It’s no longer just theatre. For instance, last year I was asked to light the rainforest at the Eden Project – something I never thought I’d do. Ultimately, I want to continue my existing relationships with current designers, directors and production companies as well as push myself as a designer”.

   If the last few years are anything to go by, it’s safe to say that Charlie will continue pushing himself and cement his reputation as one of the most exciting lighting designers this country has to offer.

   Photos courtesy of Graeme Braidwood, Hywel Jones, Matt Martin, Pamela Raith, Rose Bruford College and Sven Worrow.

3. Charlie Morgan Jones: The Producers Diary – Part One

   6 November 2017 11:52 Comments Off on Charlie Morgan Jones: The Producers Diary – Part One

   Produced by the award-winning Selladoor Worldwide, a brand-new production of The Producers recently opened at the Shanghai Culture Square and is currently embarking on a 14 week tour of China. The Lighting Designer is Charlie Morgan Jones and the equipment has been supplied by White Light. Whilst in East Asia, Charlie kept a diary of his travels in order to give us a first-hand insight into life on an international tour: 

   Thursday 12^th October – Eight Days Before Flight

   I was out of the country until yesterday, so had to express my Chinese Visa application through.  It’s all a bit complicated, but thankfully our wonderful Company Stage Manager Sharon Speirs accompanied me to the Embassy and walked me through it all (she’d been so many times that she was old pals with the Embassy Official…!)

   Today also marked the first run through of the show. It’s always special to be there the first time it’s all put together.  As I write this, it’s just finished and it’s in-cred-i-ble.  One of those “I CAN NOT WAIT TO LIGHT THIS” shows.  Tara Wilkinson, the Director, and Matt Cole, the Choreographer, have done the most fabulous job.

   Thursday 19^th October – One Day Before Flight

   This week has been slightly mad. I’m in pre-production for Inside Pussy Riot which begins tech the day I fly back from China, Eden Project at Christmas which starts mid-November, rehearsing for Gobsmacked! which opens in the USA the same night as The Producers and on Tuesday I had to travel to relight Derren Brown: Underground for one night only! So safe to say I’m somewhat pre-occupied!

   Today, after an overnight plotting session for Gobsmacked!, I’m solidly in The Producers rehearsals (thank goodness).  This show just gets better and better and there’s now only four days until I start lighting it.

   Friday 20^th October – Flight Day

   It’s early Friday morning (and I mean early!) and I can’t sleep.  My flight isn’t until 15:15 but I’m very excited.  One of the huge perks of the job is that producers pay me to fly half way around the world to do something I love with people I admire – what could be better?

   All the crew have flown out ahead of us – so it’s just the Musical Supervisor, Sound Designer and Costume Designer on my flight…I promise we’ll be well behaved!

   As we board, I know it’s going to be a good flight  as I’m asked “Would you like a glass of champagne, sir?”. I think I can manage it.; after all, it is 10pm in Shanghai!

   

   Saturday 21^st October/Sunday 22^nd October – Arrival in Shanghai

   We all arrive (after a seemingly endless transfer) slightly worse for wear…I’m not sure any of us have managed to sleep, and with the time difference between the UK and here it would be dangerous to go to bed now…  The hotel is lovely, but can’t quite get to grips with lunch so we find a Starbucks instead.  Supper is an equally interesting experience…

   Sunday is a whole day off, so Shane Button (Programmer), Alex Carver (Production Electrician), Andrew Blumsum (Touring Chief) and I all go for an explore…

   We managed to find the theatre and were allowed to poke our heads in to check it out pre-fit up.  I did a cracking ‘this is where my lights need to be’ for Alex using only a foot and a hand…  I should be a mime artist!

   We carried on to the “Westfield of Taicang”.  It had some great food (steak and noodles – interesting combo!) as well as the sort of shops you’d expect to find (I bought us Uno for fun this evening. I really know how to party).  We were asked for our photo a couple of times by local people…are we really that famous?!

   Monday 23^rd October – Fit Up 

   Most of today was spent with me doing coffee runs. There were a lot of language barrier issues making some of the fit up slow going, but the amazing LX boys got through it and did an incredible job.  It turns out that Google Translate is genuinely the best thing since sliced bread!

   Tuesday 24^th October – Focus/Plot/Tech Session One

   We bashed out the focus in record time.  Andrew was on booms with our lovely ETC Lustr 2 units and JP (Tech Swing) was out Front of House.  The tag teaming was incredible.

   Shane and I managed to plot the first three numbers before tech began so we were in a healthy place to start. It suddenly feels like it’s all starting to come together!

   Click here to read Part Two.