WL Goes to the Ball with Andrew Lloyd Webber’s Cinderella

Regarded as one of the most anticipated shows in recent years, Andrew Lloyd Webber’s Cinderella is a complete reinvention of the classic fairy-tale, based on an original idea by Oscar-winner Emerald Fennell, with a brand-new score from the legendary composer, and lyrics by David Zippel. With a delayed opening due to the Covid-19 pandemic, the show eventually opened at the Gillian Lynne Theatre in August last year and received immediate critical acclaim. The lighting designer for the production is Olivier Award-winning Bruno Poet, who approached WL to supply the lighting equipment for the show.  

 

 

Cinderella first began life as a workshop at The Other Palace in London back in May 2019, before being developed into a West End production. As the show’s Lighting Designer, Bruno was involved with the creative process from a very early stage. He comments: “After being asked if I would like to light the show, I remember being invited over to Andrew Lloyd Webber’s house with other key cast the creative team to hear an early version of the music they’d recorded. This was enormously helpful as it gave me a real head-start as to where the project was going as well as a flavour of the story we wanted to tell”.  

 

 

Following this, Bruno began to work closely with the Director Laurence Connor and Set and Costume Designer Gabriela Tylesova, to discuss what the feel of the show should be and the role the lighting should play within this. He explains: “In terms of style, there was a general feeling that we wanted to create something of a Tim Burton like fairy-tale – operatic and gothic. This then evolved when we introduced more colour during both rehearsals and the initial previews. The actual stage is quite an open, metallic grey set, meaning the lighting has to help focus the story-telling. Gabriella designed a stunning three dimensional back wall which dominates the stage picture and was a treat to light, bringing a modern feel to the fairy-tale design”. 

 

 

For his rig, Bruno drew on what he called some “reliable favourites that have proven themselves on other shows”. He explains: “A large majority of the rig is MAC Encore Performance Colds, which, for me, are the most flexible moving light for theatre. They offer excellent colour, especially on skin tones, they are reliable, consistent and are very quiet – I hate hearing fan noise when I watch a show. For Cinderella, they were used to create combined washes, individual specials as well as the majority of lighting for the actors. They were all fitted with custom gobos. 

 

 

 

 

 

 

 

 

 

 

He continues: “I also a cover of the Encore Warms for moments that required more of a warm tungsten feel. There are also two rows of GLP X4 Bars that are used for a classic light curtain look and to wash colour onto the stage and the architectural back wall.  

 

 

 

 

 

With the production featuring a large cast, vast space as well as multiple musical numbers, this meant Bruno and the team had to follow spot cast members from angles which constantly change throughout dance sequences, on a stage that also moves simultaneously. “We realised that performer tracking was needed for both sound and lighting – so Gareth Owen the sound designer and I decided to look for a single system that could work for both of us. We settled on Zacktrack – supplied by Stage Sound Services. As such, every member of the cast soon became tracked for both light and sound. The sound department looked after the daily fitting of the trackers on the cast, alongside their radio mics, and the lighting department look after the FOH part of the system, the beacons and the data distribution. This allowed us to truly combine the lighting and sound designs and create some really striking looks, and most importantly help the audience follow the action through some complicated sequences.  

 

 

 

 

 

Like so many others working in theatre over the past twelve months, Bruno and the entire Cinderella team had to navigate a global pandemic whilst trying to open a highly ambitious show. He explains: “When we arrived in the theatre back in January 2021, we started the initial pre-rig. However, due to the various government guidelines constantly changing, we didn’t actually get to open the production until August! It’s been a very unique experience and the show was soon seen by many as an example of the industry’s resilience to still make work during a very testing time. We are delighted with the response we’ve received by audience and critics alike and we cannot wait to welcome everyone back to the ball”.  

 

 

 

 

 

Cinderella re-opened once again earlier this month and is now booking until February 2023. There is also talk of a Broadway transfer later this year. 

 

 

 

 

 

Bruno concludes: “I’m really honoured to have worked on Cinderella, and equally proud to have done so with a brilliant team around me. I must say a huge thanks to Max Narula, the Lighting Programmer, Charlotte Burton, my Associate LD as well as Ian Moulds and John Dempsey, who were the show’s Production Electricians; all of whom helped bring my design to life. I’d also like to say thanks to WL for their support and service once again”.  

 

 

 

 

 

Photos courtesy of Tristram Kenton.

 

 

 

 

 

 

 

 

 

The post WL Goes to the Ball with Andrew Lloyd Webber’s Cinderella appeared first on White Light.

 

 

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Theatre