Tag Archive: Theatre lighting hire

1. Howard Hudson Wins Best Lighting Design at WhatsOnStage Awards

   2 March 2020 11:39 Leave a Comment

   

   The annual WhatsOnStage Awards took place at the Prince of Wales Theatre last night. Now in its 20th year, the Awards are the only major accolades in the UK where the audience choose the majority of winners. Alongside supplying the lighting equipment for the main ceremony, WL once again sponsored the Best Lighting Design Award which was won by Howard Hudson for & Juliet.

   This year’s WhatsOnStage Awards were the biggest yet, and for the first time, broadcast live on Radio 2 in a special show presented by Elaine Page and Paddy O’Connell. The biggest names from the worlds of theatre and showbiz were in attendance; as was WL who marked ten years of sponsoring the Best Lighting Design Award.

   This year’s Best Lighting Design Award was won by Howard Hudson for & Juliet. & Juliet looks at one of the most famous love stories of all time and asks what would happen if Julia decided to choose her own fate and if her famous ending was in fact just the beginning… The hilarious new musical uses the back catalogue of songs written by Swedish songwriter Max Martin, including ‘I Want It That Way’, ‘I Kissed A Girl’, ‘…Baby One More Time’ along with ‘It’s My Life’.

   Bryan comments: “We are absolutely delighted that Howard is this year’s recipient of the Best Lighting Design Award. A long-time friend of WL (we are currently supplying the 9 to 5 UK tour), we remember supplying some of the first shows he lit after graduating and have had the privilege of seeing him truly grow and develop to become a now award-winning lighting designer”.

   Howard has been a lighting designer for over ten years now, with select credits including 9 to 5 (Savoy Theatre), Strictly Ballroom (Piccadilly Theatre), Romeo and Juliet (Garrick Theatre), The Little Shop of Horrors (Regents Park Open Air Theatre) and Kiss Me Kate (Sheffield Crucible). He had twice previously been nominated for Best Lighting Design for his work on In The Heights (2016) and The Little Shop of Horrors (2019). Nominated alongside Howard for Best Lighting Design were Jon Clark (Evita), Ben Cracknell (Joseph and the Amazing Technicolor Dreamcoat), Jessica Hung Han Yun (Equus) and Tim Lutkin and Hugh Vanstone (Present Laughter).

   & Juliet was the biggest winner on the night, having won six awards in total which included all of the creative technical categories such as Best Sound, Best Lighting, Best Costume and Best Set Design, alongside Best Actress in a Musical for Miriam-Teak Lee.

   

   Other big winners included Come From Away, which won five awards including Best New Musical and Best Supporting Actress for Rachel Tucker, whereas the Old Vic took home three acting awards for Best Actress, Best Actor and Best Supporting Actress.

   WhatsOnStage’s COO Sita McIntosh said: “In our 20th year, we’d also like to say a particular thank you to the audiences who are the lifeblood of our Awards, voting in their thousands. Their support and championing of shows is what keeps our industry alive”.

   The WhatsOnStage Awards are one of several that WL sponsors, such as the upcoming Olivier Awards, OffWestEnd Awards and Tonic Theatre to name but a few.

   Bryan concludes: “As the leading lighting supplier to West End and UK touring theatre, we feel it’s important we celebrate the great work that is made up and down the country and recognise the brilliant individuals involved. From everyone at WL, we’d like to say a massive well done to Howard and all the other winners on what was another great evening for our industry”.

2. White Light is Part of the Family for Uncle Vanya

   19 February 2020 12:17 Leave a Comment

   

   White Light has supplied the lighting equipment for Uncle Vanya which has opened at the Harold Pinter Theatre in London’s West End.

   Written by Anton Checkov, Uncle Vanya is possibly one of theatre’s most iconic plays, with thousands of productions since its Moscow premiere in 1899. This latest production has been directed by Ian Rickson and features a lighting design by Bruno Poet. Bruno comments: “What’s great about this translation is that it doesn’t reinvent the original but actually gives it a modern edge, using contemporary and accessible language which makes it moving, clear and very funny. Whilst it is set in the 19^th century, the themes feel completely relevant to today”.

   Bruno’s brief on the show was to move the story forward and support the character’s emotional journeys. He explains: “The script calls for a sense of the time of day, and the weather. We start in summer sunshine, move to a hot, but stormy night, then enter an autumnal afternoon that slowly travels through sunset to dusk and night time. The production all happens in the same space, so the lighting needed to give each act a distinctive feel while belonging within Rae Smith’s elegant design.  Although we are guided by the script, Ian and I wanted the feel to be bold and expressionistic, sculpting the air and supporting the focus of the performers; with all the characters trapped in the misery of loneliness and unrequited love”.

   

   As such, Bruno started designing his rig and choosing the fixtures that would be most suitable. He comments: “I knew I wanted tungsten light through the big windows that make up most of the stage right wall. I needed the rich warms across the wooden floor, and the beautiful colour shift as the lights fade. I wanted the flexibility of a few moving lights to allow me to put specials wherever I needed to frame and focus the storytelling. Also, I had to have an incredibly quiet rig. Ian warned me that he is obsessed with eliminating even the smallest fan noise – and rightly so. The delicacy and intimacy of the spoken word, powerfully supported by Stephen Warbeck’s music and Ian Dickinson’s sound design, should not be destroyed by the background hum of fans”.

   Bruno approached the Hire Team at WL to acquire the fixtures he needed. He explains: “The main feel of the play is driven by 24 par cans with scrollers outside the SR window. These gave me the bold directional light source I wanted. These are balanced with an area cover of ETC Source 4 Series 2 Lustrs from Front of House. I had 4 Martin MAC TW1s overhead for specials and 4 Martin MAC Encore Performances front of house for the same. Offstage of the SR window, Rae designed a forest that slowly grows into the house. This was lit by 4 Ayrton Ghiblis, chosen for their punch and wide angle (and quietness). The Ghiblis gave me the ability to show single shadow moonlight through the windows, compared to the pars that were a softer more expressionist source. A bunch of candles, lit by the cast and some tungsten practicals delivered the contrast in the night-time scenes. More Ghiblis high in the USR and USL corners gave me cold directional light for the night-time scenes. A very light haze was provided by an MDG ATMOSPHERE  – just to give a sense of dust hanging in the air”.

   

   As always with shows like this, Bruno’s design had to alter slightly during the rehearsal and preview period. He explains: “Ensuring the rig stayed quiet was quite hard and we had to experiment with how low we could turn down the scroller fans before we melted the gel strings. Thankfully, we found a level where they could not be heard and where the gel survives. We also had to work out where to place the foliage outside the windows without it impeding the shots of the par cans. One morning the crew looked more like gardeners than technicians!”.

   Uncle Vanya has now opened to rave reviews, receiving five stars in The Guardian, WhatsOnStage and The I. It runs until 2^nd May 2020.

   Bruno comments: “I really enjoyed lighting such a delicate and nuanced play. Having recently worked on a lot of musicals, concerts and operas, this was a big (but welcomed!) contrast. There was a fantastic team on this show – everyone from the cast, creatives, stage management and the team at the Pinter – and so it was an absolute joy to work together and carefully build our version of Checkov’s story. I’d like to say particular thanks to Warren Letton, my Associate and Programmer for the show who was a huge support. Also, a big thanks to WL for supplying the equipment I needed”.

   Photos courtesy of Johan Persson.

3. White Light Supplies Leopoldstadt in the West End

   13 February 2020 09:45 Leave a Comment

   

   White Light has supplied the lighting equipment for Leopoldstadt; which opened at the Wyndham’s Theatre in London’s West End last night.

   Written by legendary playwright Tom Stoppard, Leopoldstadt tells the story of three generations of the same Jewish family living in early 20^th century Vienna. It is directed by Patrick Marber and features a lighting design by Olivier Award-winning Neil Austin. Neil comments: “Leopoldstadt is a truly exceptional play which encapsulates the experience of the Austrian Jews through one family’s journey.  Beginning in the period of cultural and scientific explosion in Vienna at the turn of the century, it spans a near sixty-year period ending in 1955.  To achieve the passing of time, it’s an abstract set of gauzes and items of furniture, which represent the one room through the years”.

   As such, Neil’s brief on the piece was to dress the set in a way which would guide the audience through the different time periods. He explains: “It was a question of looking at how the lighting could suggest the various changes in time-period, as Austria’s political landscape transforms through the piece. At the start, it highlights the opulence of the early 20^th century, then moves into the post First World War period of the 1920s, before heading into the late 30s when Vienna was under Nazi control, before finally ending in 1955 when the room has become a de-nazified office. I needed to allow the lighting to capture the emotional temperature of the story.”

   

   The emotion captured in the piece was also another huge influence on Neil’s design. He explains: “Tom Stoppard has described this as his most personal play yet and there are some truly beautiful moments packed with raw emotion. As such I knew that my fixtures needed to be quiet to ensure each of these points in the play had moments to breathe and could be underpinned by silence”.

   Knowing what he had to achieve, Neil approached WL to supply him with the fixtures he required. He explains: “For this rig, I drew on a mix of ETC Revolutions, Vari*Lite VL1000AS ERS, ETC Source 4 Series 2 Lustrs, Bambino 5K Fresnels and standard Source Fours. The Vari*Lite VL1000AS ERS were used on booms in the wing, emulating the daylight through windows, and were brilliant playing to their natural colour temperature advantages. The 5Ks played a similar role as they were used to recreate sunlight. The Lustrs were used as general work-horse units while the Revolutions were used as specials”.

   

   Whilst there was a very limited set in the play, Neil’s design did have to contend with the gauzes that were present on stage. He explains: “In order to light the rear gauze and gauze legs, I asked for troughs to be buried in the raked stage which then housed a range of Chroma-Q Color Force 72 LED battens. These battens were used to skim up the gauzes to establish the difference between when they were lit in different colours and when they weren’t. In the final scene of the play, the gauzes are unlit for the first time and so the stage appears to be a black void”.

   Leopoldstadt opened yesterday evening and will run until 16^th May 2020.

   Neil concludes: “It’s been a privilege lighting such a beautiful and poignant piece of theatre. I am really grateful to my brilliant team which includes Production LX Martin Chisnall, Programmer Tom Mulliner and Production Manager Paul Hennessey. As ever, thanks once again to WL for supplying me with the fixtures I needed and for their great support”.

   Photos courtesy of Marc Brenner.

4. White Light Supplies Lighting for Holes UK Tour

   11 February 2020 09:59 Leave a Comment

   

   White Light has supplied the lighting equipment for Holes which is currently touring venues across the UK.  

   Presented by The Children’s Theatre Partnership, Holes is the creative new stage show based on the multi-award winning novel and Hollywood blockbuster. Adapted for the stage by the novel’s author Louis Sachar, the piece is set in a labour camp where a boy, Stanley, has to dig the same sized hole every day while a tyrannical warden looks on. The show features a lighting design by Prema Mehta and an associate lighting design by Guy Jones.

   Guy comments: “I have dual roles on this production as Associate Lighting Designer to Prema as well as Production Electrician, with my overall brief being to recreate the original lighting design in a touring format. Many of the tour moves are in and up in a day so one central aim has been to replicate the looks while ensuring the rig would be quick to install. Making a consistent standard achievable for every tour move was my main focus with regards to designing the rig itself. Another big consideration was that the entire show must tour in one trailer, so any toured LX had to occupy as little space as possible”.

   

   As the play is set in the Texan desert, this played a huge part in Prema’s design. Guy explains: “In terms of feel, Prema’s design uses strong colours on the cyc, with the heat of the desert being introduced with warm backlight. There are also many specials used for puppets and other specific whilst side light is also used a lot. I started with the kit list that Prema had used for the original Nottingham Playhouse production and worked closely with WL’s Senior Account Handler Jedd Hamilton to find fixtures that would be more suited to a touring production”.

   Vari-Lite VL1000/1100 AS and TS units featured strongly in the original rig and this was something that Guy chose to keep in the touring rig. He explains: “Whilst they are not the most modern units, I am personally very fond of the contrast between the AS and TS sources and they work to great effect in many moments of this production. For the cyc lighting, simple yet strong colours were required but I was also keen to keep weight and rigging time to a minimum. As such, Jedd suggested the Showline SL400 RGBW Battens which worked perfectly as they were very easy to rig and provided the exact colour palette needed.

   

   He continues: “For LED wash lights, we settled on a combination of ROBE 1200 and 800 LEDWash units. Once again, these are lightweight and provide all the colours required for the show, particularly strong blue hues working very well as well as being able to achieve the straw like colours and other lighter shades also required. Four ColourSource Units are used for gobo effects on the cyc and these work well, proving enough output and suitable colour rendering for the purpose. The sidelight is achieved with standard fixed angle Source Fours and the rest of the rig comes from venue stocks of Fresnels in the overheads and Profiles front of house. For spot effects and practicals, we have used birdies, Source Four Mini Profiles, LOOK Solutions Unique 2.1 Haze machines, along with a SHoW Baby 6 Wireless DMX system”.

   Holes has now opened and will tour venues across the UK until 30^th May 2020.

   Guy concludes: “I am extremely pleased with how the show looks and the touring rig is compact and effective. I always enjoy working with Jedd who’s extremely helpful in finding what fits the brief and budget from WL’s hire stock”. 

   Photos courtesy of Manuel Harlan.

5. White Light Goes Riverside with Persona

   30 January 2020 15:03 Leave a Comment

   

   White Light has supplied the lighting for Persona, which has reopened the newly-renovated Riverside Studios.

   Based on Ingmar Bergman’s 1966 iconic Swedish psychological movie, Persona tells the story of a renowned stage actress who relapses into total silence and is sent to a remote summer house where a nurse must break her silent spell. This production is the first to be performed in the venue’s Studio 3 and features a lighting design by Jack Weir. Jack comments: “This is an extremely visual piece of theatre. Footage from the ground-breaking film has been re-created and re-shot on location on an island off the coast of Sweden which has then been integrated with the BAFTA Award-winning Fotini Dimu’s incredible grey set and projection by PJ McEvoy. It’s an extraordinary backdrop for the actors to perform on and for me to work with”.

   

   Jack’s main brief for his lighting design was to help create atmosphere throughout the piece; particularly for the sunrise and sunset moments. He explains: “As we were working with the theatre’s brand-new LED and moving light rig, I realised that I actually needed tungsten light sources to achieve the feel required. As such, it was a case of drawing on some classic generic fixtures to supplement the modern ones in order to generate that immutable tungsten warmth”.

   Jack approached WL and selected the ETC Source Four Profile, ETC Source Four PAR and Par Can 64. He explains: “Whilst it’s fantastic for companies like WL to continue investing in the latest equipment, it’s actually important for them to have a selection of classic fixtures which designers may need to draw on; as I did in this situation”.

   

   Alongside the visually demanding set, Jack also had to tailor his design to work with William Close’s Earth Harp. Jack explains: “Musician William Close is part of the production as is his iconic Earth Harp. Due to the size of the instrument, it actually runs through up into the rig. As such, the rig had to work in tandem with this, both in terms of the fixture placement overhead as well as the focusing of front of house fixtures. Also, with projection playing such a huge role, it was important to ensure that the show is lit from angles that prevent any shadows on the back wall”.

   As this was the first production at the newly-refurbished Riverside Studios, this meant that Jack was the first lighting designer to light in the space: “It’s so exciting being part of the first show in a new space as you become part of that building’s footprint. On a very obvious level, playing with the new control systems, equipment and infrastructure makes the job a lot of fun!”.

   The show, along with the building, has now opened and will run until 22^nd February 2020.

   Jack concludes: “It’s been an absolute pleasure working on Persona. I’d like to say a big thanks to General Managers Clive Chennery and Joanne Benjamin, Pamela Raith Photography, Technical Manager Ian Dickson Wilkinson and my Production Manager James Anderton”.

   Photos courtesy of Pamela Raith Photography.
   
   

6. White Light Supplies You Stupid Darkness! at Southwark Playhouse

   27 January 2020 11:05 Leave a Comment

   

   White Light has supplied the lighting for You Stupid Darkness! which recently opened at the Southwark Playhouse, London.

   Presented by Paines Plough and Theatre Royal Plymouth, You Stupid Darkness! is an urgent new play set within the Brightline Call Centre and focuses on four colleagues who try to keep their lives together whilst the outside world falls apart. The Lighting Designer on the show is Peter Small, who comments: “My brief for this production was that it shouldn’t feel ‘lit’; meaning I wanted it to feel as natural as possible to the audience. The concept was that you had sort of peeled the wall off this strange office and were peering in from a dark place, somewhat ‘fly on the wall’. This concept meant working closely with Set Designer Amy Jane Cook and adding in masking which would allow me to drop the rig very low and hide it away from the audience. As this was a dystopian piece, I also had to have a rig that would allow for bursts of surrealism, alongside the hyperrealism.”

   And whilst the show is dealing with large issues, the production itself was all about the smaller details. Peter explains: “The set is the same location throughout and also very naturalistic. Therefore a lot of my lighting had to showcase a passage in time, as this was often the only indication in between scenes. I did this by varying the background from return to return; sometimes the computer was on, sometimes the lamps were on and off, sometimes someone left the main light off but forgot to turn the kitchen light off etc. The show also starts very brightly and intentionally gets darker as the situation worsens for our characters. I don’t think moments of ugliness or shadows creeping in are a bad thing; in fact, it’s something we celebrated with this show”.

   

   Knowing the creative and practical brief that he had to achieve, Peter contacted WL and worked closely with Senior Account Handler Louise Houlihan and Account Handler Hugh Kemp to decide on his perfect fixtures. He explains: “With a show like this, you have to put a lot of thought into every single fixture you draw on and make sure it earns its place. Par cans are the focal point, providing a 4×4 grid of ‘pipe end’ with a heavy diffusion as this 4×4 set up gets around the set obstacles. Dimmable CFLs then echo this concept but in a ’top light’ sort of way, as they are also used as strobes. The Acclaims did a great job suggesting some spotlights on a track like you might find in an office; again, emphasising the natural realism. Generically then anything coming in from outside had to be a Profile to cut around the metal work on the set. 

   He adds: “We used 500w Fresnels for footlights with Source Four Pars, mainly due to their form factor but also the fact that they were a great source for candlelight in the later scenes. The windows all received Chroma-Q Color Force 48s, with the cell control important for us to suggest the various changes that were happening outside the space. A fistful of Data Flashes were used for either a spot effect or backlight strobing the audience whilst Nitro strobes on the advanced bar allowed for a strong front blast. We also had a curtain of ACLs as we cannot achieve a full blackout due to the candles hence the curtain provided a somewhat framing metaphor. Alongside this, we had multiple smoke and haze machines, multiple AF1 fans, a swirl fan, snow machine, an exploding kettle, electro magnets, collapsing desk and a lot of LED tape”.

   

   The show originally ran at Theatre Royal Plymouth before transferring to London. As such, Peter had to make certain adjustments to his design. He explains: “Whenever you move venues, your design is obviously going to change. For us, this mainly came in the form of unit quantity, rigging and infrastructure. When we arrived in London, I had to work closely with my Production Electrician Doug Finlay to go through the show file and calculate the maximum power consumption and channel usage. Following this, rather than cut the rig, we wanted to make sure we used alternatives and paired fixtures where we could. Thankfully, the team at WL was extremely useful in suggesting which units we draw on and I even ended up adding some moving lights to the rig”. 

   The show has now opened to rave reviews and will run until 22^nd February 2020.

   Peter concludes: “It’s been fantastic to revisit this brilliant, highly-relevant show and bring it to a London audience. Often transfers can be tricky but thankfully I had a brilliant team in Doug, Tom Davis (Programmer) and, of course, WL who supported me every step of the way”.

   Photos courtesy of Ali Wright.

7. White Light Conjures Lighting for Magic Goes Wrong

   23 January 2020 10:38 Leave a Comment

   

   White Light has supplied the lighting for Magic Goes Wrong, which recently opened at the Vaudeville Theatre in London’s West End.

   Created by the award-winning Mischief Theatre and magic legends Penn & Teller, Magic Goes Wrong focuses on a hapless gang of magicians trying to host a charity fundraiser – with hilarious results. It features a lighting design by David Howe, who is lighting several of Mischief Theatre’s other shows. He comments: “The basis of the show is that it’s very much a slick variety show where everything should technically run smooth. However, the magicians and acts who perform aren’t the most skilful which results in everything going wrong… As ever with Mischief, it’s a very slick and fast-paced show. Set Designer Will Bowen created a very ‘variety-looking’ stage, complete with glossy floor, big theatrical tabs and glitter-drapes. There is also a large video wall at the back of the space which is used to introduce the acts as well as add texture, with a brilliant video design by Duncan McLean.

   He continues: “Taking all of this into consideration, my design has three goals. The first was to support the ‘variety show’ feel, with strong washes of colour, lots of comedy face light yet still be suitable for camera work. The second was ensuring that the portals and flown drapes received lots of lighting in order to make them ‘zing’ and ensure we maintain that light entertainment feel we’re used to seeing on TV. Thirdly, there was the wider brief of lighting the various tricks and keeping them ‘magical’ whilst still allowing the comedy to shine”.

   

   Knowing the look and feel he had to achieve, David approached WL who is also supplying the Mischief Theatre tour of Comedy About a Bank Robbery. He explains: “I worked closely with WL’s Customer Service Team Leader Andy Cullen and Customer Service Account Handler Jade Johnson who were extremely helpful when it came to choosing the appropriate fixtures. Due to the theatre space being tight, I knew I needed a versatile rig. As such, I drew on the Martin MAC Encores, Martin Aura XBs, MAC Viper Washes, Clay Paky Sharpy Washes, Chroma-Q Colour Force 48 LED Battens, GLP Impression X4 Bar 20s, ETC ColorSource Spot LEDs and Source Fours. These worked perfectly for both the production and venue’s requirements. Whilst it is a loud show, at times, we need total silence in order for some of the brilliant jokes to work. With this rig, we can truly achieve that and help move both the action and comedy forward.

   He adds: “We programmed the lighting on an ETC Eos Ti Console and the show runs on a Gio. I knew the control aspect of the show was going to be important as so many different elements are all linked together. Lighting additionally triggers video content and switching for cameras and playback. This, in turn, at times is triggered from sound and keeps sync with time-code, Midi and even the old-fashioned Stage Manager calling cues. Lighting also, on occasion, triggers a wide range of set and prop items that move, swing, drop and add to the comedy, so it has to be a tight and secure network”. 

   

   Whilst the rig featured a range of fixtures that played equally important roles, there was one in particular that was pivotal: the followspot. David explains: “The humble followspot is obviously not the most innovative fixture but was an essential item for the style of this production. I wanted a central followspot position in the upper circle so we had to work closely with Nimax Theatres in creating a position which avoided losing precious seats and didn’t cause issues with the building and stringent listing issues. So we found the old followspot box that had been (some years ago) converted into a staff bathroom and repurposed it. The result, thankfully, looks incredible and I’m grateful to the theatre for being so accommodating!”. 

   Prior to its West End run, the show ran The Lowry theatre in Salford. David comments: “With a show like this, it’s forever evolving. The space in Manchester was quite similar to the West End in width so this acted as a good template. That said, the show was constantly changing in previews so the equipment set-up has to be such that we can re-light a scene or create something entirely new on the spot which allows the writers (who also are currently performing) to see how the show plays with those changes. It’s incredible how much the content of the show has changed since those initial previews in Salford; which of course has completely changed aspects of my design.”

   

   Following its recent opening, Magic Goes Wrong has just announced that it will extend its West End run until August 2020.

   David concludes: “As always, it’s brilliant working with the Mischief team and contributing to a show that creates two hours of non-stop laughter every night. It was also great working with WL once again and their ever-helpful Hire team; especially Andy and Jade”.

   Photos courtesy of Robert Day.

   Lighting Team Credits
   
   Lighting Designer – David Howe
   Programmer – Stuart Cross
   Lead Production Electrician – Ed Locke
   Prod Electricians – Nick Wooley, Theo Chadha, Barry Abbots, Joe Crossley, Alex Matthews.
   Assistant Lighting Designer – Alex Musgrave (Part of the ALD Lumiere Scheme for 2019)
   Followspot Operator – Virginie Serneels
   Production Manager – Tom Nixon 

8. White Light Supplies Lighting for Donmar Show Teenage Dick

   9 January 2020 15:58 Leave a Comment

   

   White Light has recently supplied the lighting on Teenage Dick; the critically-acclaimed production which is currently running at the Donmar Warehouse.

   Making its UK debut, Teenage Dick is a darkly comic take on Richard III and is directed by the Donmar’s Artistic Director Michael Longhurst. Set in an American high school, it tells the story of Richard who, after years of torment due to his hemiplegia, plots the ultimate rise in power: become president of his senior class. The show features a lighting design by Sinead McKenna who comments: “My brief on Teenage Dick was to create the feeling of a bright and brash ‘high school movie’ meets dark European stark expressionism. It was actually a real joy to mash up these two styles and experiment with what could be achieved. The play is also set in a gym and Chloe Lamford’s set really makes you feel like you are walking into an actual school gymnasium. I wanted to make sure my lighting didn’t work against that but rather embraced it”.

   

   To achieve this, Sinead wanted to use predominately LED washes and spot units to provide colour pop and sheen for the fun glossy high school vibe, which could then morph easily into a stark, cold brash white light. She explains: “Projected light was a major element of the design aesthetic, and I needed to be able to work with video designer Andrzej Goulding and match the quality of light being projected. Also, the main character, Richard, often uses direct address to the audience. He summons a spot for these addresses in a pastiche of the direct address to camera motif employed in 90s high school movies which we were delightedly drawn on for inspiration! What’s great is how the actor, Daniel Monks, interacts with the technology in these moments, and we really allowed this relationship to develop and morph throughout the tech process”.

   Sinead then approached WL to supply her with the lighting fixtures she required. She explains: “We used Ayrton’s Ghibli LED Spots to create the classic sharp edge ‘spotlight’ for the direct addresses. They can achieve a really stark, almost arc-light quality which was exactly what was needed for this piece. They’re also really versatile and worked well with the rest of the rig for shaping the space and working alongside the other units as colour washes when used soft. Grid space was at a premium so it was important that the differing units could work together seamlessly.

   

   Sinead continues: “Alongside this, I used GLP Impression X4s overhead for colour washes and two at a very low angle from the front which were used for various effects, including bouncing off mirrored back wall. ETC ColorSource LED Profiles worked alongside the generic rig to create coverage for the space. I also hung some fluorescent box fixtures retro-fitted with LED from above that helped create the ‘roof’ of the school gym, while still allowing me to colour mix to create varying tones. There were also some terrifically cheesy gobo moments for high school prom lighting!”.

   Alongside achieving the feel needed for the show, Sinead also had to accommodate her design to fit the intricate Donmar space. She comments: “The space can potentially be tricky as it is on three sides so can be quite difficult to create the dramatic single source looks that were required at times whilst still giving each side of the house an interesting picture! On the other hand, the lighting often had to feel open, diffused and harsh like fluorescent lighting in a real gym, while still being contained enough to focus down to the playing space. So, in that respect, it was quite a balancing act! It also has quite a high rig for the size of the space which can result in very steep angles and make lighting the cast a little tricky. That said, after working out the various angles, this is something we were able to overcome”.

   Teenage Dick has now opened to rave reviews and will run until 1^st February 2020.

   Photos courtesy of Marc Brenner.

9. Paul Talbot – 24 Years at White Light

   6 January 2020 13:42 Leave a Comment

   

   At WL, one of our proudest assets is our staff. We pride ourselves on offering our clients a level of customer service they simply wouldn’t receive anywhere else. We’re fortunate that a lot of our employees have chosen to stay with the company for a long time; with one of these being our Quality Manager Paul Talbot. Paul has been with the company for 24 years now so we thought we’d take this opportunity to sit down and discuss his time at WL.

   When Paul first joined WL, it was December 1995 and he was fresh out of college. He recalls: “I’d completed a micro-electronics course at East Surrey College and really just wanted any sort of job. I’d seen there was a vacancy at WL and went down to meet the company’s Managing Director Bryan (Raven). We got on really well and I soon joined the Operations team which saw me loading vans, doing deliveries etc”. After a few months in Operations, Paul quickly found himself moving around the warehouse: “I soon joined Bench where I was known as the fixer! Basically, due to my background in electronics, I was always been given circuit boards to fix, along with the more difficult wiring. I actually really enjoyed the technical side of things though; so much so that I joined Control where I got to play with as many toys as I wanted!”.

   

   Paul soon found himself running the Control Department which brought with it a few challenges; although these were mainly due to WL’s location at the time. Paul explains: “This was while we were still in the old Filmer Road building in Fulham so every time the basement flooded (which happened more than it should) it was down to me to get a group of us together and sort it out! There was also the challenge of pushing consoles and flight cases down small corridors and over cobbled floors. It was certainly a character-building experience!”.

   Thankfully, WL was expanding at a rapid rate and would soon move to a much bigger home in nearby Wimbledon. Due to his role, Paul was in charge of overseeing the set-up of Control in SW19. Shortly after this, Paul would continue honing his managerial skills as he became Head of the Rigging and Followspot departments. Following this, he was then promoted to Warehouse Manager; overseeing everyone who worked in the vicinity. He comments: “My constant promotions within the company weren’t a quest for world domination! Instead they were a natural progression. This was during a time when I didn’t have a partner or any family so I was always the first one in at 7am and the last one out at 9pm. They were long, long days but I did genuinely enjoy them and the increased responsibility”.

   Once in Wimbledon, the company continued to grow, now employing five times the staff compared to when Paul first started. As such, he worked with his team of supervisors to help oversee the growing workforce. It was also during this time that Paul’s personal life dramatically changed and the long hours he used to embrace were no longer a possibility. He explains: “My son was born in 2006 with Quadriplegic Cerebral Palsy which meant he needed constant care. Funnily enough, I didn’t go part time straight away – I just had to finish on time! It was strange as finishing at 5pm for me was like doing a half day!”.

   

   Since then, Paul has continued working in managerial roles throughout the company and for the past couple of years has worked as WL’s Quality Manager. He explains: “My role is exactly how it sounds: ensuring that, as a company, we maintain ‘quality’ and that everything leaves our facilities as it should. I’ve also put in procedures and systems that are bespoke to WL. As someone who’s been here for quite a long time now, I’m in the fortunate position of knowing what works best for our customers and how we’re able to give them the best service possible”.

   As Paul has been at WL for almost a quarter of a century, it seems only right to ask what the biggest changes have been during this time. However, Paul wants to actually talk about what’s stayed consistent: “What I love about working at WL, and perhaps the biggest reason I’ve stayed, is the people. During my time here, we’ve gone from a company of 25 to 250 yet it’s still retained its family feel and everyone is so friendly and just wants to do the best job possible. Personally, I’ve also made some great friends here, including Andy Cullen, Neil Adamson, Andy Johnson and many more, and think of the company as my extended family – which not a lot of people can say about the place they work”.

   We’d like to take this opportunity to thank Paul for his service to WL and the integral role he’s played in the company’s growth. Here’s to the next 24 years!

10. It’s Panto Season Again for White Light. Oh Yes It Is!

    12 December 2019 14:39 Leave a Comment

    

    White Light is supplying the lighting equipment to more than 25 pantomimes and Christmas shows this festive season.

    For many theatres, Christmas marks their busiest time of the year, as stages up and down the country fill with dames, beanstalks, ugly sisters and flying carpets. A firm favourite in the panto world is Peter Pan and WL is supplying productions at Birmingham Rep, Brighton Metropole, Epsom Playhouse and Tunbridge Wells’ Assembly Hall Theatre. The production at Epsom Playhouse is being lit by Simon Banks, who comments: “My brief for the show was actually very open, with the only request being that we managed to get across a period feel for the more traditional story elements whilst being able to go ‘full panto’ for the big production numbers and set pieces. When working on pantomime, I’ve often found that less is more and you can really play with the audience’s responses by more traditional creative means such as shifts of mood and emphasis”.

    In terms of other popular productions, WL is going to the ball with Cinderella at Norwich Theatre Royal, Cambridge Arts Theatre and The Hexagon, Reading, whereas Jack and the Beanstalk is entertaining audiences at Harlow Playhouse, Eastbourne Theatres and The Harlequin Theatre, Redhill. Snow White is playing at Pavilion Theatre Rhyl and the Beck Theatre, Hayes whereas Aladdin is at The Anvil, Basingstoke. Mother Goose is thrilling audiences at the Millfield Theatre and The Marlowe, Canterbury, whilst Robin Hood is on stage at Salisbury Playhouse. WL is also supplying several versions of A Christmas Carol, including an immersive production at IMMERSIVE LDN along with a version at the Old Vic, which WL is supplying for the third year running.

    

    Having previously lit Jack and the Beanstalk at Salisbury Playhouse, lighting designer Nic Farman is back at the theatre this year to light Robin Hood. He comments: “With Robin Hood, I was tasked with using bright and bold colours to help create the world of Sherwood Forest and the Sheriff of Nottingham’s Castle. With the design relying on saturated colours and bright beams, I knew I wanted a flexible and dynamic rig. Overhead was a combination of Mac III Profiles and GLP X4 Washes which gave me great options for colour and gobo washes. A side light and pipe end rig of ETC ColorSource Profiles allowed me to have a fully flexible stage wash which was combined with Chroma-Q Color Force 12 and 72s to light the portals and cloth tops. At front of house, there were a number of Martin MAC Viper Performances to give me a full stage and cloth gobo wash. All of these allowed me to achieve the bold looks I wanted; something that lighting a panto often encourages you to do”.

    Alongside pantomimes, many theatres are also staging more traditional Christmas shows. One of these is Treasure Island, which is a Bolton Octagon Theatre production being performed at the Macron Stadium. The lighting designer is Johanna Town, who comments: “My brief for this show was to light the piece as naturally as possible and treat most of the song changes with soft shifts. The venue, which was obviously not your traditional theatre space, had a false stage with no access equipment allowed. As such, all the overhead rig had to be moving lights and due to power requirements, had to be almost all LED. I chose ETC LED profiles and Auras as my main wash lights and then had some GLP X Bars as overhead toplight to work in the songs and give a soft wash for the scenes. I also added Vipers for additional atmosphere. Similarly, the scenery was a large landscape flatage representing walls and clouds and mountains, which was then washed using Robert Juliat Dalis 860s due to their incredible short throw”. 

    For Johanna, working on a show like this not only varies from a standard theatrical production in terms of the creative brief, but also due to the impact it can have: “For Christmas shows, it’s vital that you make it exciting for its young audience, introduce lots of looks and images they can take away, and hopefully initiate a love for theatre and live performance. I think any show for children should feel exciting and have lots of imagination for them to enjoy; which is the pleasure of designing a Christmas show”. 

    

    Another show that WL is supplying the lighting for is The Nutcracker which is currently running at the Theatre Royal Portsmouth. Lighting Designer Adam King takes us through his process: “Part of my brief is transporting the audience into the world of the Nutcracker from the moment they walk into the auditorium; something I’m able to achieve by softening the house light system and adding more colour. In terms of the show itself, my main role was to make each location featured feel ‘magical’ every time the characters visited. As the set remains largely the same, it’s my job to make sure the audience followed the narrative through the changes in light; as well as offer those moments of magic throughout”.

    Whilst WL is supplying a host of Christmas shows this year, the company is still extremely busy with non-festive productions. In the West End alone, the company is providing the lighting for a multitude of newly-opened shows, including Teenage Dick at the Donmar Warehouse, Amélie at The Other Palace, Touching the Void at the Duke of York’s, Cyrano de Bergerac at the Playhouse along with the soon-to-open Les Misérables at the recently refurbished Sondheim Theatre. The company is also supplying a range of festive events, such as the numerous outdoor ‘Christmas at’ which include Bedgebury, Belton, Blenheim, Dunham Massey, Edinburgh, Kew Gardens and Stourhead.

    WL’s Managing Director Bryan Raven comments: “It’s been another incredibly busy year here at WL in which we’ve cemented our position as the leading lighting supplier to West End and UK touring theatre. It’s a fitting end to a great twelve months to be working across the country on a range of festive shows, supplying lighting designers with the exact equipment they need. We’d like to say thanks to all of those who’ve drawn on our services in 2019 and we look forward to working with you once again in the new year”.

    Photos courtesy of The Other Richard and Natalie Gee.