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The extensive lighting systems are tailored to align with the sound and choreography, particularly during the complex dance numbers
“Lightware is the go-to when it comes to reliable 4K infrastructure, which we use on almost every show we supply,” comments Ed Cooper, director at Blue-I, a company specialising in high-end AV and technical production – and the team behind the spectacular delivery of Disney’s Hercules at Theatre Royal, Drury Lane. Downstage, the crew installed a 928-tile Roe Visual BP3 LED screen, while two Panasonic PT-RQ35K and four Epson PQ2220B projectors displayed upstage imagery. Using Disguise Designer, the video design team could build a cue list and automate visual changes depending on the scene. It also allowed previews of each image in 3D, giving an accurate idea of the show’s final look before rehearsals even began in early 2025. GODS AND MONSTERS Mount Olympus, home of the gods, is a magical place, akin to Heaven. To light
fit in? There’s a lot of flying scenery that takes up space where lights would go. There’s a lot of scenery that tracks on and off stage that takes up space too,” including the pillars adorning either side. “Fortunately, what comes with doing a Disney show is some very smart people who can help solve these problems.” On the video side, Reeve collaborated with a team of designers and animators to create both LED backdrops and laser projections, which decorate the pillars, as well as the stage floor itself. Reeve and the team used Disguise Designer, Omnical cameras and EX 3+ media servers, plus Unreal Engine, Substance and After Effects, to develop and render the Herculean imagery, ensuring it was properly lit to match Croiter’s work. Once rendered, the high-resolution visuals were processed and transmitted via a robust Lightware system, comprising an MX2-24x24 4K matrix, seven OPT-J transceiver pairs and a PSU rack tray.
According to Croiter, there are 700 individual lighting looks in Hercules: “Every time an actor moves more than four feet, the lights change”
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