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The show’s lighting director, Neil Austin, told us how lighting was a crucial part of sculpting Paddington’s on-stage figure so he didn’t get lost among the taller actors
“Neil has a long-standing and trusted relationship with Dave Isherwood, White Light’s technical director, and to have been able to work with both of them on this production has been a rewarding experience. The collaboration between White Light, Neil and GLP over the development of the X5 Dot has been one of my personal highlights; we believe that it is a fantastic product and that it will be taking its place in our rental fleet early next year.” WHEN TECHNOLOGY BECOMES STORYTELLING Ultimately, what makes Paddington The Musical such a success is not any single technical achievement, but the way every technical element works in harmony to support the story. From Paddington’s first tentative steps in London to the dazzling Natural History Museum sequence, the lighting design doesn’t just illuminate the show, it tells the story. As five-star reviews continue to roll in, the show reflects how far musical theatre has evolved. “The response from the audience and the industry has been overwhelming,” Sheppard concludes. “We always hoped London would fall in love with our version of Paddington and adore him as much as we do, and it’s seems he really has found a new home. It is a testament to our amazing designers and production staff that all of their incredible work has created something that feels simply magical. Paddington may only be a small bear with a battered suitcase, but on the Savoy Theatre’s stage he feels bigger than ever.”
Bright, precise and ideal behind the footlights’ shells, I am particularly excited about this and think it’s going to be a great addition to the industry.” KEEPING TRACK Lighting Paddington accurately is further complicated by one unavoidable fact: the performer inside of the Paddington costume has limited visibility. In order to solve this, the production uses Robert Juliat Spot Me tracking combined with Lightstrike, a hybrid system that Austin previously commissioned for a show of Harry Potter and the Cursed Child . “This hybrid approach made sure that Paddington remained perfectly lit despite the performer’s limited visibility inside the costume.” Rather than relying solely on automation, the system retains the human element. “This set-up allows followspots to control the stage lights while retaining the advantage of human operators who can anticipate and adapt better than any automated tracker.” Delivering a production of this complexity is never a solo effort. Austin is quick to credit the contribution of the company White Light, whose important involvement extended far beyond simply the equipment supply. “White Light’s technical expertise and London base made all the difference,” Austin reveals. “From sourcing compact units such as the Ayrton Kyalami for laser effects to providing essential support on networking and special effects, their partnership was invaluable.” White Light’s head of lighting, Dom Yates, echoes that collaborative spirit:
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