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Archive for October, 2013

5E check out Wicked’s first ever UK and Ireland Tour with PRG.

28th October, 2013

UK – A global musical phenomenon, Wicked has taken to the road for its first UK and Ireland tour and the Production Resource Group (PRG) is providing a custom-built automation solution and the full lighting system.

The show opened at the Manchester’s Palace Theatre to five star reviews and plays until 16th of November when it will move on to Dublin. PRG is no stranger to the show, having supported the US tour since 2004.

PRG supplied a bespoke designed automation package for the production. For expediency the system used was set-up in its entirety in PRG’s testing facility in New Windsor, New York prior to shipping to the UK. This enabled Wicked’s creative team to pre-approve scenic moves, which saved valuable time in the theatre.

To support its UK installation John Galante, systems manager for PRG, joined the PRG and Wicked’s technical team at the Manchester Palace Theatre. Here he provided technical back up and system training for the touring technicians.

“There are 14 automated effects on this show,” explains Galante. “This system comprises the PRG Commander Console, a safety-rated Logic Controller, and our next-generation AC Servo Drive Racks. The Drive Racks are custom tuned to control a wide variety of motorized effects and contain either eight 3kW drives, or two 7kW drives. We pair the servo drives with digital motion controllers for closed loop control.”

In addition to the control PRG has provided power distribution, UPS backup, and a hydraulic pump for the Witch’s Levitator.

“The system was designed with safety in mind,” continues Galante. “Redundancy and monitoring is combined for E-Stops and Interlocks. It’s a SIL-rated system; programmable Cat 1 E-Stops are standard. The system also provides the benefits of servo control and effects can be positioned within 100ths of an inch and the Commander console enables production to program the show using time and/or velocity-based cues, offering more flexibility when cueing the show.”

“The PRG Commander console combines the power of the cue-based PRG Stage Command System software with 3D graphics, faster processing and an intuitive user interface,” adds Ben Lampman, Project Manger at PRG Scenic Technologies. “It’s an ideal control solution and provides a powerful hardware and software platform that is reliable, accurate and really user-friendly.”

Original lighting designer, Tony Award winning Ken Posner, assisted by UK associate designer Alistair Grant and US associate Karen Sphan, returned to the UK to re-light the dynamic and vibrant show: “We were keen to keep the feel of the original UK production,” he explains. “However, we have revisited certain elements creatively. There are new flying sequences and some re-dramatised scenes. When it came to designing a touring lighting package we had some new ideas plus we considered constraints including time, money and truck size.”

Posner and Grant worked in collaboration with PRG’s account director, Peter Marshall and production electrician Peter Lambert to reduce the rig size without having to compromise Posner’s creative ambitions. They found that replacing the conventional cyclorama solution with LED battens considerably reduced the number of fixtures required.

Posner’s rig also includes: VL2500 spots, VL2500 washes, VL3000Q spots, ETC Source 4s, Robert Juliat followspots, Wybron Coloram II scrollers. The control consoles are EOS TI, ETC Gio and ETC ION along with two additional fader wings and dimming comprises four Avolites ART-2000 48-way dimmer rack and two ETC 12-way Smart Racks.

With the current tour of Wicked, PRG continues its incredible success within theatre, following its work on shows including Book of Mormon and Once in the West End, Chimerica’s transfer from the Almeida to the West End, and UK tours of Cats, Priscilla, and Ghost.

The Wicked UK and Ireland tour began at Manchester’s Palace Theatre on the 12th September 2013 and reaches the Bord Gáis Energy Theatre, Dublin on the 27th of November 2013.

Philips Selecon creates an interactive experience for //hapo museum South Africa

28th October, 2013

Pretoria / South Africa – Johannesburg based Digital Fabric has specified Philips Selecon luminaires to help bring the newly completed //hapo museum to atmospheric and theatrical life.

//hapo’s vision was clear: to create an interactive exhibition space where the story of Southern Africa, dating back 3.6 billion years, unfolds in an engaging narrative and visual form. The museum is split into a number of zones and scenes, each telling a different part of the African story. Lighting is used to evoke the feel and atmosphere of each scene presented.

Designed by a collaborative team of South African architects from Mashabane Rose, MMA and GAPP, Johannesburg based Gavin Olivier of Digital Fabric conceived and managed the technological aspects of the project. In the process he called on some of South Africa’s leading integrators including: TDC Africa and DWR Distribution to deliver the lighting solution.

nside, the spaces are brought to distinctive life by evocative sculptures, artefacts and information pieces, complemented and supported by carefully prescribed lighting.

Augmenting the numerous bespoke solutions for each zone Oliver specified an extensive stock of Philips Selecon fixtures – namely 66 Philips Selecon Display 25˚-50˚ Zoom Profiles, 54 Philips Selecon Display 15˚-35˚ Zoom Profiles and 118 Philips Selecon Wing – asymmetrical floods.

“Principally, our challenge was to create a system that was operationally simple and sustainable, yet equally, would deliver a feature rich experience for visitors,” explains Olivier. “We engaged theatre lighting designer Declan Randall to offer his creative thinking when it came to lighting fixture positioning and focus decisions. In addition well-known TV and music lighting designer Joshua Cutts of Visual Frontier contributed to the final focus sessions.”

The Selecon luminaires were supplied and installed by Johannesburg based, DWR Distribution; Managing Director of the company, Duncan Riley, comments: “The team chose the Selecon display profiles because they offer a bright, clean output and feature fantastically accurate beam shaping plus two beam angles ranges, 15°-35° and 25°-50°, along with precision projection optics. The luminaire delivers theatrical effect and functionality as pattern, dichroic, glass and plastic filters enable the use of imagery, logos, texture, colour and depth. In addition the Selecon Display Profile has the capability to manage, record and maintain design specifications, control and consistency.”

Not only that, the compact, clean look of the Selecon fixtures makes them ideal for the //hapo environment. They are reliable and low-maintenance, which is crucial as some of the areas are pretty difficult to access and the lighting is running for long periods of time.

Randall assisted in specifying the fittings and allocating units to each zone. “Some of the areas called for low-level accent lighting on the displays, others featured graphic panels that required even illumination,” explains Randall. “We required a large number of fittings that could offer precision optics, energy efficiency and cost-effectiveness. There were very few opportunities for any dynamic effects, so being able to use colour, gobos and precise focus was very crucial.”

The Selecon Display luminaires impressed Randall: “The flat field of the beam is really useful and especially helpful when lighting graphic panels. The framing shutters are great and the locking mechanism on the shutters ensures the focus of the fitting remains true for as long as possible. The range of beam angles available is also helpful. In this case it meant we could specify the right beam angle for each job without losing too much light by being forced to adjust the zoom optics too wide. They’re also easy to focus and their elegant design makes them ideal for this application.”

Digital Fabric specified minimal dimming in the museum, so required fittings that would be bright enough to light the exhibits but not be too overpowering in the space. “The Selecon range enabled us to keep the same design of fittings throughout the space,” explains Oliver, “but at the same time we could opt to change the power of the light sources as required.”

The result is both absorbing and inspirational. //hapo represents the creativity, inventiveness, resilience and spirit of the South African people. For those who have contributed to its creation, there is obvious pride.

Philips Selecon helps C-venues LED the way in creative sustainability at Edinburgh Festival

24th October, 2013

UK – Edinburgh Festival Fringe 2013 saw Philips Entertainment brands – Selecon and Vari-Lite – work alongside leading venue producer C venues to increase the creative opportunities for over 170 of its international productions.

Philips Entertainment supplied a selection of the Selecon PL range of LED luminaires alongside Vari-Lite discharge and LED moving heads. All were delivered in tandem with onsite training and support throughout.

Enabling C venues to take full advantage of the creative benefits of LED in many more of its venues kit included the Selecon PLcyc1, the PLfresnel1 and the PLprofile1 augmented with the Vari-Lite VLX3 LED luminaires and VL440 Spot luminaires. In addition the VL440 Spot bought the energy efficiency of the super-bright 400-watt MSR Gold 400 MiniFastFit lamp plus a host of creative features including: powerful colour mixing, quiet and reliable strobe effects along with seven rotatable and indexable gobo positions.

Production manager for C venues Ben O’Grady, comments: “We run four venue locations offering everything from a conventional 160-seat proscenium theatre to a 12-seat found space serving dinner. Each hosts a continuous run of eight to ten shows a day, with an average of ten minutes turn around between performances. Many are restricted by limited power, no aircon and restricted rigging height.”

With shows running continuously O’Grady and head of production Richard Williamson demanded robust, feature rich luminaires that could accommodate the changing demands of each venue and within that, the performances it hosts. However for creative flexibility they also needed present a low power draw and heat output plus a small profile overhead.

LD Hartley T A Kemp (also C venues’ artistic director), Williamson and Beatrice Banionyte (C venues’ head of technical) design the lighting rigs. Williamson discusses: “We have to accommodate all creative demands from subtle multi cue shows to bright or colourful single state acts. Each company gets a warm and cool wash and can create special focuses plus they now have access to the stronger saturated colours for back and side lighting.”

In the bigger theatres the use of Vari-Lite VLX3 LED luminaires and VL440 Spots was especially useful. “The VLX3 LED luminaire has delighted visiting lighting designers. The VLX3 delivers clean, colour-balanced whites along with stunning saturated colours,” adds Williamson. “The excellent output combined with the energy savings and versatility of a moving head considerably add to what we can achieve creatively.”

In spaces where minimal power is of major concern the C venues team put the Selecon PLprofile1 and PLfresnel1s through their paces. This gave designers a greater range of colour mixing, while considerably reducing the power usage and heat output.

“In the C aquila studio the PLprofile1s and PLfresnel1s are used as a backlight, providing us with plenty of saturated colour washes with no degradation over time as you would with gel,” explains Williamson. “We can change the colour instantly which reduces the number of fixtures we need to rig for a backlight wash. We no longer have to rush up ladders to change the gel colour so creatively it’s very liberating.”

Heat can also be an issue. “LED has been very popular,” adds O’Grady. “It has given the companies the creative flexibility they require without the usually associated overbearing rig or noisy fans and air conditioning. We’ve found that one LED fixture – whether a moving Vari-Lite or a PLprofile1, PLcyc1 or PLfresnel1 can do the job of two or more tungsten units. The colour rendering is excellent and the range of white from warm to cool from a single unit is a big bonus.”

Martin Palmer, Vari-Lite and Showline Product Manager EMEA for Philips Entertainment, concludes: “It’s been great to meet the latest generation of young designers and techs and see them embrace LED in the same way that my generation did moving lights! It’s also exciting to see people who have no preconceptions about these luminaires deliver some incredible design ideas. To be honest they needed very little help from us but we were always there if they did have a question or concern.”

Avolites Media Ai Servers create a ‘Multi-View’ experience at Secret Garden Party

22nd October, 2013

UK – Avolites Media’s industry-leading Ai Servers and Sapphire Media consoles have exhibited their flexibility and processing power handling multiple live input streams alongside playback of custom designed media content for this year’s Secret Garden Party – main and second stages.

Almost 30,000 revellers attended the popular independent music and arts festival in Abbots Ripton, Cambridgeshire, to see headliners including Faithless, 2ManyDJs, and The Ladykillers.

Two Ai Infinity Servers with two black magic capture cards in each were stationed on the main stage (one for service, one backup) and controlled by the Sapphire Media console. A second Ai server was placed to serve the second stage.

“The festival organisers wanted something different from the standard wall of LED screens,” says design company Immersive’s Ralph Lambert, who was in charge of all main stage visual media. “This year, we decided to experiment with showing multiple live camera feeds on different screens at the same time. For the main stage area there were a multitude of cameras shooting different band members and feeding through to multiple screens at the same time. In order to operate this we approached it as a live camera show whilst having the option of simultaneously showing custom media content, which was either created by ourselves or provided by the artist. We essentially used the AI server as a video mixer but with the added scope and control that only a video server can bring”.

Some of the headline acts supplied Immersive with their own timecoded media a few weeks in advance of the festival kick off, but naturally a lot was done on the fly. The demand for these 2 different working disciplines was made possible due to the adaptability of the Ai Sever.

“It was a very intense few days. We were dealing with so many different bands,” says Lambert. “The Ai server was essentially taking care of content delivery to a brand new multiscreen, multi-camera install. Every day demanded a different in house install as well as a different install for each of the headlining artists. The console’s ‘Scene function’ came in really handy. It meant that I could streamline a large amount of complex operations into an operable and understandable format. These direct access buttons or ‘Scenes’ enabled me to program the Ai server to create various different compositions that included multiple media sources being used alongside multiple live camera streams in a quick and efficient manner.

“The second stage setup was great for visiting VJs who had not used the server before. We could line a selection of media sources up using the multiple capture inputs so they could utilise other VJs’ content or content directly from the server together with their own performance.”

The Guardian called Secret Garden Party ‘stunning’; Kerrang! stated: ‘this is the ultimate party, contained in a fantastical setting oozing magic, otherworldliness and ingenuity.’

Secret Garden Party took place between the 25-28th of July. Early bird tickets for next year’s event are now on sale.

Avolites Ai Media Servers Power Video Mapping for Billboard Latin Music Awards

21st October, 2013

USA – Two Avolites Media Ai Infinity 8 Servers and one Ai T8 server have powered the video mapping, projection, and LED screens for the Billboard Latin Music Awards in Miami – watched by more than 30 million people.

Avolites Media Developer Ciaran Abrams worked closely with US-based lighting design and media presentation company DMDS7UDIOS on the 2013 Awards, held at the 7,972-seat BankUnited Center.

“Avolites Media’s Ai kit was used to run every bit of video that was seen at the event – including the projection on the triangles and the video mapping for the 4 LED Screens placed in unusual geometry around the stage. We also video mapped MiStrip Led Strips at the back of the stage and several thousand MiPix designed into the set,” says Abrams. “There were multiple systems outputting to 10 HD projectors and 4 HD LED setups, all controlled from one lighting desk. The whole show was pushing 14 HD outputs, which ended up being split across three machines: one for the LED, MiStrip and FLEX and two machines for the projections. The projections involved canvasses bigger than HD and edge blending of multiple projectors for the large triangles that were designed as part of the set.”

DMDS7UDIOS created and encoded all the content to our standard AIM codec and provided a lot of creative as well as technical material for this show which consisted of 14 live performances and a variety of unique awards looks.

“Ai was chosen for this project because if its ability to both visualise in real time and deal with this very complex projection mapping, photometrics and amazingly high resolution video files,” says Scott Chmielewski from DMD. “Moreover, the multiple and freely assignable outputs of the system allowed for tremendous flexibility in routing and controlling the unusual video surfaces and varying resolutions with ease.

“Using true to life information for the projection mapping was critical to the success of the project. We were able to create custom software patches very easily to solve several technical challenges as well as provide numerous creative options that were simply not possible with any other media server. The Ai media server is quite simply next generation technology leveraging the most cutting edge software to manipulate video in unprecedented ways.”

The Lighting Designer was Jorge Valdez of Paradigm Lighting, with Miguel Cordero, and Ofer Zmora from DMD on team as content creators.

“The team of developers and support staff at Ai have been amazing in helping us stretch the software in very flexible ways that we have not been able to achieve with other media servers,” continues Chmielewski. “From the built in UI, the user defined project style and ability to control via artnet is truly what is setting Ai apart from other solutions on the market.”

Winners on the night included Enrique Iglesias & Jennifer Lopez, Rihanna, and Shakira.

5E is excited to hear that Philips Entertainment announced new dealerships in Austria

17th October, 2013

Austria – Philips Entertainment brands Selecon, Strand Lighting and Showline have signed distribution agreements with Austrian businesses dblux GmbH and Lighting Innovation at the PLASA Show 2013, ExCel. The two companies will collaborate to service the Austrian territory enabling them to expand product availability and the speed to market of the latest entertainment lighting technology solutions across Austria.

“Although Austria is a relatively small country the two companies will work together to ensure the Austrian customer base has expedient access to one of the most comprehensive portfolios of Entertainment Lighting equipment available today,” says Philips Entertainment Sales Manager for Germany, Austria, Switzerland and Czech Republic, Rainer Weggen.”Philips Entertainment has added these market leading distributors to our list of partners to ensure that our end customers can obtain both the speed and the level of service they deserve.”

“We are delighted to partner with Philips Entertainment and add the products from Selecon, Strand Lighting and Showline to our world class entertainment lighting portfolio,” says Thomas Feuerstein, managing and sales director for dblux, formerly a Selecon dealer for Austria. “We’ve known Rainer Weggen and Harald Sorger, managing director for Lighting Innovation, for many years. We agree that this is the right time for us to invest in Philips Entertainment brands. The latest Selecon and Showline LED products have greatly impressed us and our customers and we can see an opportunity to further expand our business in the fast growing entertainment and architainment market here Austria.”

Dblux, which is based in the west of Austria, will work in collaboration with Lighting Innovation, based in the heart of Vienna, in eastern Austria, with its wealth of theatre and culture. Harald Sorger of Lighting Innovation discusses: “Although Austria is not a big country working with dblux will work very well and will mean we can bring the technology to customers wherever they are in Austria much faster. We have been delighted to see Philips Entertainment products develop in the way that they have and feel that they will be a valuable addition to our portfolio of entertainment lighting products. Rainer, Thomas and myself have worked together for a long time and know each other very well. We expect it to be a very positive arrangement for all our customers, wherever they are in the country.”

5E gets revved up for First Night Riders 2014!

14th October, 2013

UK – The First Night Riders charity motorbike and classic car adventure, which raises money to help The Theatrical Guild support backstage and front of house staff, has announced new dates for 2014.

Organisers David and Brenda Edelstein, from track systems specialist Triple E, will be leading next year’s event and are inviting riders and classic car enthusiasts to join them from 20-23 June 2014.

Next year will be the fifth time the First Night Riders have toured the UK, setting off from a London location (TBC) and visiting some of the UK’s most fascinating theatres and theatre suppliers.

Last year, the intrepid gang embarked from London’s iconic Roundhouse and travelled through the Midlands, visiting sites including the Oxford Playhouse, the Buxton Opera House, and Sheffield’s Crucible Theatre.

This year’s route and stop offs are still in the planning stages but seaside theatres are high on the list.

To date, First Night Riders has raised almost £50,000 for TTG’s work, which offers support and financial assistance to those in need – for example theatre professionals who want to retrain or develop their careers, or to people unable to work due to accident or illness.

“The First Night Riders’ aim is to provide a fun way to get onto the open road for a good cause,” says Brenda Edelstein. “Today, TTG’s work is more vital than ever. It is important for the First Night Riders to raise the profile of this unique charity and support the help and advice it gives to men and women who work behind the scenes and front of house in the entertainment industry. Crucially, First Night Riders needs help from the industry to ensure TTG continues its remarkable work – and we need riders to join the group and get sponsored to support such a worthy cause!”

David Edelstein continues: “I’m excited about the fifth ride for 2014, it’s going from strength to strength, and we have a great bunch of regulars taking part from both the UK and overseas. This International group has a great time visiting all kinds of theatres in aid of a wonderful and very appropriate charity. Brenda and I are very proud to be organising this event, it’s another example of Triple E’s commitment to supporting the industry that supports them.”

In addition the inclusion of classic cars FNR 2014 is expected to enjoy a large international presence – previous years have seen riders joining from Canada, America, South Africa and Sweden.

“The aspect of the FNR event that keeps me coming back is twofold,’ says Robert Hamilton, Principle Theatre Consultant of DSD Theatre Design, Canada. “Number one is the people – It seems that these events attract first rate folks. The second is the opportunity to see many interesting theatres throughout the UK. I think I have seen about 40 theatres over the past four years, most of which I would never have seen without this event.

“Theatre connects us as human beings across boundaries, oceans, and cultures; therefore it makes sense that a theatre charity event should attract interest and participants from afar. I certainly feel as strongly about contributing to a theatre charity in the UK such as FNR as I do when I contribute to similar causes closer to home.”

For the 2014 ride each rider will be asked to raise a minimum £500 sponsorship via their own Virgin ‘Just Giving’ page, £100 of which is a non-refundable registration fee. In addition pillion riders and chase car passengers can register for free, however donations are encouraged with all proceeds going to the TTG. There is also the opportunity to simply sign up for a day ride for enthusiasts who cannot do the full four days.

For more information on past rides and to register for the 2014 ride heads to the FNR website at


The Technical Theatre Awards Reveals Winners at PLASA Ceremony

9th October, 2013

UK – The first ever Technical Theatre Awards (TTA) – celebrating the best of ‘behind the scenes’ skill and talent – were presented at a well-attended ceremony at the PLASA Show at London’s ExCel.

Fifteen awards were announced on the Theatres Trust stand in the midst of the PLASA hubbub.

Sponsored by AVW Controls, dbs Solutions, Load Cell Rental, Mayflower, Philips Entertainment, PLASA, Production Resource Group (PRG), StageBitz, Stage Jobs Pro, The Fifth Estate Ltd and Triple E, the TTAs are also very kindly supported by Lighting and Sound International and The Theatres Trust.

Host for the evening was prolific multi award-winning lighting designer Rick Fisher, perhaps best known for his work on Billy Elliot the Musical and An Inspector Calls. Recent credits include Great Expectations at Bristol’s Old Vic, The Herd at The Bush Theatre, and Inside Wagner’s Head at the Linbury Studio Royal Opera House, to name but a few.

A team of industry professionals assisted Rick in presenting the awards and first up was the ‘Stage Jobs Pro’ Award for Outstanding Achievement in Stage Management, which went to Jason Benterman. Jason started working in Stage Management in 1991 with The Oxford Stage Company and has since worked on various productions ranging from Children’s theatre to Musical Theatre through to many Shakespeare productions at Shakespeare’s Globe Theatre.

The ‘dBs’ Solution Award for Outstanding Achievement in Sound went to top sound designer Paul Arditti who specialises in the design of sound systems and sound scores. His recent work includes Charlie And The Chocolate Factory, The Audience, Feast and Dr Dee.

International lighting designer Tim Routledge took the ‘Philips Entertainment’ Award for Outstanding Achievement in Lighting. Tim is an experienced lighting designer and programmer and the past 12 months have seen him work on the biggest shows in the UK. He was associate lighting designer for the Queen’s Diamond Jubilee Concert at Buckingham Palace and lead lighting programmer for the Opening and Closing Ceremonies of the London 2012 Olympics and Paralympics.

The ‘AVW’ Award for Outstanding Achievement in Automation went to Ben Philips. Ben’s automation experience spans over six years, in which time he has opened and worked on a number of major West End and touring shows including: The Sound of Music (Palladium), We Will Rock You (UK Tour), Legally Blonde (Savoy), The Wizard of Oz (Palladium), The Bodyguard (Adelphi) and most recently Charlie and the Chocolate Factory at Theatre Royal Drury Lane.

The ‘StageBitz’ Award for Outstanding Achievement in Prop Making went to Jonathan Hall. Jonathan has recently worked on The Lord of the Rings at Theatre Royal, Drury Lane, White Christmas the Musical and Chitty Chitty Bang Bang at the London Palladium and on the UK Tour.

The ‘PRG’ Award for Outstanding Achievement in Education went to Chris Layton of LIPA. Chris teaches on the sound technology and the theatre and performance technology degree programmes and on the foundation certificate programme.

The ‘IOGIG Ltd’ Award for Outstanding Achievement in Wardrobe went to Megan Cassidy.

The ‘Load Cell’ Rental Award for Outstanding Achievement in Flys and Rigging went to Adam Searle. Adam founded industry acclaimed rigging company ‘Rigging Team’ and now spends his time working on a multitude of shows. Recent projects include flying Heidi Klum for the MTV EMA’s in Frankfurt, several permanent installations and production rigging for Derren Brown’s Svengali tour and the Michael Grandage Company season at the Noël Coward Theatre.

The ‘Theatres Trust’ Award for Outstanding Achievement in Wigs and Makeup was won by Stefan Musch who is currently the Head of Hair, Wigs and Make-up for ‘The Book of Mormon’ and the Wigs and Hair Supervisor for ‘The Phantom of the Opera, in London. He also teaches Wig and Hair Work at the Delamar Academy.

The ‘Spotlight Accounting’ Award for Receiving Venue of the Year was given to Sadler’s Wells. Sadler’s Wells has a history of over 300 years on Rosebery Avenue, Islington and presents a wide-ranging programme of emerging and established artists.

The ‘AdVision’ Hire Company of the Year Award went to Autograph which says: “Anybody can hire you a ‘kit’ – we pride ourselves on a hire department that is manned by people who value and understand the merits of quality equipment over soulless ‘gear’. They know how intense the creation of live performance sound can be and how it feels to be ill-equipped and unsupported… and how utterly useless a CD player is without a mains lead!”

The ‘Triple E’ award for outstanding achievement in Building and Set Construction went to Janet Williamson, whose career has spanned over 20 years. She now works at Guildford School of Acting.

The Mayflower award for outstanding achievement in Stage Crew went to Dan Cauldwell who has been working in the industry since 1998. He has been at Milton Keynes Theatre, since 2006 as the Assistant Technical Manager.

Well-known industry personality Richard Bullimore won The Lighting and Sound International award for outstanding achievement in Production Management. Currently on tour with Wicked, Richard has worked on many of London’s leading musicals including: Cats; Starlight Express; Crazy for You; Jesus Christ Superstar; Whistle Down the Wind; Saturday Night Fever; The King and I; Fosse; Chitty Chitty Bang Bang; Bombay Dreams; Matthew Bourne’s Nutcracker; Absolutely! {perhaps}; The Producers; Sinatra; Evita; Wicked; Joseph; Wizard of Oz; Gone with the Wind; Imagine This and Toyer.

Finally the Entertaining Sustainability award for Venue Sustainability went to Bedlam Theatre – a unique, entirely student-run theatre in the centre of Edinburgh. Bedlam is a fully operational 90-seat venue housed in an imposing neo-gothic church. It’s both a listed building and a historical landmark – a unique space and community where students maintain the building throughout the year.

Summing up, organiser Ian Taylor says: “We’re delighted with the success of the awards. In less than twelve months we’ve created something truly special and much needed. The support from our sponsors, voters, the winners and the nominees who’ve come to the awards tonight, and PLASA, is a very welcome surprise. I’m in shock at the moment, but incredibly proud.”

Taylor was immediately offered support for the 2014 event from a number of sponsors.

“The idea of the TTA awards is to highlight the work and effort of the people who really create productions – the people behind the scenes who are often overlooked,” continues Taylor. “Our aim was to recognise all those who work in technical theatre, and we’ve done just that.”

A drinks reception, generously sponsored by Philips Entertainment and Triple E, was held pre and post the awards ceremony.

“I’m enormously grateful to all our sponsors as they are all well recognised for their high standards and quality within the industry,” says Taylor. “This is exactly what we hope our awards highlight in others! With the support of these companies we believe we will continue to grow and develop the TTA awards.”

Sixth Knight of Illumination Awards Winners Announced

7th October, 2013

UK – The sixth Knight of Illumination Awards (KOI), held on 6th October at London ExCel’s Platinum Suite, saw lighting and video professionals enjoy a glittering night of celebration and recognition for the exceptional creative talent within their industry.

The ever popular awards – organised by The Society of Television & Lighting Design (STLD), The Association of Lighting Designers (ALD), Clay Paky and Ambersphere Solutions and generously sponsored by Chroma-Q, Hawthorn, MA Lighting, Osram, Robert Juliat and XL Video – provide public recognition for outstanding achievements in touring, television and theatre lighting and video design.

Hosted by Andy Collins, the sparkling ceremony saw over 300 lighting and video professionals from the worlds of TV, Theatre, Concert Touring and Events come together to celebrate the diverse range of creative talent in production design today.

First to be announced the Television Category with the Light Entertainment Award going to Gurdip Mahal and Ross Williams for The Voice Final. The Small Studio Award went to Colin Case for Howard Goodall’s History of Music; the Drama Award to Ashley Rowe BSC for Dancing on the Edge; the Event Award to Nick Collier for Bollywood Carmen Live and finally the new – introduced this year – Graphic Display Award went to Gurdip Mahal, Ross Williams and Dave Newton for The Voice.

In the Theatre Category the Dance Award went to Fabiana Piccioli for iTMOi at Sadler’s Wells; the Musicals Award went to Paule Constable for Barnum at Chichester Festival Theatre Tent; the Opera Award went to Jean Kalman for Death in Venice at English National Opera; the Play Award went to Charles Balfour for The River at Theatre Upstairs, Royal Court and the new Projection Design Award went to Lysander Ashton for Feast at Young Vic.

The dinner was rounded off with the Concert Touring and Events Category which saw the Arena Award go to Baz Halpin for Pink; The Stage Award go to Bruno Poet for Sigur Rós; the Live Event Award go to Patrick Woodroffe for London Olympics Ceremonies and the newly introduced Video Electronic Content Award go to Sarah Hopper and Damian Hale for Sigur Rós.

As is tradition the evening was bought to a close by Clay Paky’s chief commercial officer, Pio Nahum who made the KOI charitable donation of £10,000 to Light Relief. This was closely followed by the prestigious Enrico Caironi Lifetime Recognition Award, which this year was presented to industry personality Ian Dow by international lighting designer – and KOI co-ordinator – Durham Marenghi.

During his speech Marenghi said: “Ian Dow was a unanimous decision. The KOI committee feels he has worked and supported the lighting industry in very many ways. He was an engineering manager and lighting designer for the BBC for many years and has been the Chairman of Showlight for the last eight years. Ian has spent many hours training students and is particularly proud that Showlight offers 40 free places to students to help get them a foothold in the Industry.”

Each winner received the traditional Knight of Illumination trophy, an authentic medieval battle sword handmade in Toledo, Spain.

The 2013 Knight of Illumination Awards was chaired by Stuart Gain for TV, David Benedict for the Theatre and Sarah Rushton-Read for the Concert Touring and Events Category. The event is kindly supported by: ABTT,, L&S America, L&SI, PLASA, The Theatres Trust and TPi magazine.


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