In what can only be described as a timely and insightful production, Disruption shows audiences the ways in which technology – in particular Artificial Intelligence – is not only shaping the world we live in but also our very selves. Written by Andrew Stein, it focuses specifically on tech genius Nick who believes he’s cracked the code for ultimate happiness via a revolutionary algorithm so complex that it surpasses the human mind… The show ran at London’s Park Theatre and featured a lighting design by Robbie Butler – who approached White Light (WL) to supply his lighting rig.  

Disruption is a play dealing with the profound and ever-growing ramifications of Artificial Intelligence’s imminent impact on humanity. And whilst these urgent and pressing themes form the show’s narrative, they also had a huge influence on the show’s lighting design. Robbie explains: “Our main aim was to embrace modernity in the most optimal manner. To achieve this, we deliberately steered clear of employing conventional tungsten technology, as its red-shift and inviting warmth evoke a charm perhaps better suited to an analogue and nostalgic setting. I was part of the rehearsal period from the outset, and attended more regularly as blocking and choreography were infused. We had originally began design talks as a team about six months before tech so we already had the bones of where we wanted to take this. However, the true alignment of the creative elements are only really confirmed when the show begins to take its tangible form in the rehearsal room.  Fortunately, our team was already in sync with a cohesive artistic vision”.

As Robbie mentions, him and the team were eager for an LED-based solution as opposed to tungsten in order to achieve their desired aesthetic. However, this ambition was naturally not without its challenges. He comments: “A key element of the concept involved visually representing algorithmic calculations, necessitating instruments capable of captivating effects, as well as a level of quality suitable for practical theatrical applications. Additionally, the imposing and foreboding set design by Zoë Hurwitz eclipsed about half of the overhead lighting rig, rendering backlighting impossible. The stage floor, served as a fully projection-mapped surface, which was then reflected in the tilted upstage wall. 

He continues: “Moreover, the unique architectural layout of the Park200, characterised by its elevated ceiling, wide thrust stage, and less-than-ideal lighting positions, presented a considerable conundrum. As such, virtually every available position posed the risk of spilling light into the audience or washing out the projection design”.  

As he was formulating his design, Robbie approached the Customer Service team at WL to acquire the exact fixtures he required. He explains: “We drew on an extensive floor and overhead package and after careful consideration, it became evident that the ideal fixture was the GLP X4 Bar 20. The units arresting visual impact and linear batten aesthetic, combined with its physically low-profile versatility, granted us the flexibility to employ it as both footlights and for aerial effects. Furthermore, we incorporated 2 VL2600s for supplementary front support whilst the remainder of the rig was in fact traditional tungsten units! That said, we did draw on Lee 600 and other steel colours in order to reduce the redshift where needed”.  

Following both critical and audience acclaim, Disruption ended its one month run last weekend.  

Robbie concludes: “This was an incredibly ambitious show in which we were all determined to create an unforgettable and visually impressive experience for our audience – something I believe we did! I am immensely grateful for the invaluable guidance assistance provided by Jamie Platt and Paul Walmsley as well as to Sam Knight and the WL Hire team. Their expertise, support, and collaboration played a crucial role in helping us deliver a truly remarkable production”. 

Photos courtesy of Pamela Raith.

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