LIVE’s Jan/Feb issue is here and it’s our bumper ISE edition! From an extensive event guide to an exclusive interview with one of this year’s keynotes Quayola, we share all that you need to know ahead of the show! This issue also ventures into the theatre space, revealing how an industry known for pioneering innovative AV techniques continues to consistently break the fourth wall when it comes to tech and creativity. Also, our education focus explores VR techniques being deployed to redefine history teaching, whilst our installation section goes behind the scenes of ‘Portals’; the mysterious new art installations that are cropping up in cities around the world. This issue digs into digital signage, and its lucrative impact on the brand and marketing sectors. From AR enhancements to powerful LED displays, we share the crucial tech behind this revolution. Elsewhere, we unpack the tech behind Adele's record-breaking Munich residency as well as exploring the audio-visual tools powering some of the world's biggest venues in our stadiums focus. This issue's round table debates the evolution of education – and the technology powering that change, whist our Buyers' Guide offers savvy tips on the best tools for your corporate workflows. Finally, AI is one of the hottest topics in practically every industry right now, so our special focus delves into its impact on ours.
BRIDGING WORLDS Portals: The installations joining cities and strangers
PAST MEETS PRESENT
ROUND TABLE: LED FOCUS Shedding light on key tools and trends
Learn how VR specialists are redefining history education
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ISE 2025 An insider’s guide to Europe’s largest AV expo! PLUS Show keynote & major digital artist sits down for an exclusive interview
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JAN/FEB 2025
Scan for a sneak peek of Mean Girls The Musical
“It’s not about developing autonomous systems, but ones that empower us to create ” Quayola on blending technology and art ahead of his ISE keynote
Discover the groundbreaking theatre shows casting audio-visual tech in a leading role ENCORE!
EDITOR’S WELCOME
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EDITORIAL Editor Verity Butler +44 (0) 1223 492246 veritybutler@bright.uk.com Senior staff writer Katie Kasperson Features writer Oliver Webb Chief sub editor Matthew Winney Sub editors Jim Blackstock, Zanna Buckland, Minhaj Zia Contributor David Davies ADVERTISING Sales director Sam Scott-Smith +44 (0) 1223 499457 samscott-smith@bright.uk.com +44 (0) 1223 499462 +44 (0) 7376 665779 emmastevens@bright.uk.com Sales manager Gabrielle Pitts +44 (0) 1223 492244 gabriellepitts@bright.uk.com DESIGN Ad production Holly May Sales manager Emma Stevens Senior designer Carl Golsby Magazine design manager Lucy Woolcomb Design manager Alan Gray Design director Andy Jennings PUBLISHING Managing directors Andy Brogden & Matt Pluck FOLLOW US linkedin.com/company/livemagsocial @livemagsocialX
Learn more about Portals on page 52
W hen it comes to theatre, AV has been centre stage for a long time. Used as a medium to experiment with and discover, the industry has spearheaded lighting, rigging, audio and special effects practices that have eventually funnelled into broadcast and film production approaches. In LIVE ’s first issue of 2025, we meet with the directors and technical minds behind some of the shows that are currently pushing the boundaries of both theatre and technology. Also in this issue, Oliver Webb speaks to the creators of Testimony 360 , a free Holocaust educational programme that combines VR with digital survivor testimonies – a new teaching approach which will allow students to experience key historical events first hand. Curious about the striking structure in the image above? These public art installations, called Portals , have been cropping up in major cities around the world in a heartwarming move to connect different societies through circular live streams. Katie Kasperson sits down with Nicholas Klaus to get the technical scoop on these futuristic works. Back in October, LIVE joined the Christie team in the city of a hundred spires to catch this year’s Signal Festival, one of Europe’s
biggest digital art events. Read what we found on page 66. Plus, our Round Table panel talk all things LED, including the reasons behind its continued dominance in the creative technology sector. Our Buyers’ Guide offers useful pointers for those looking to bolster their microphone portfolio, too. Finally, if you’re heading over to the Fira Barcelona in February, be sure to grab your physical copy of LIVE and check out our exclusive show special. From the best booths to visit to the panels and talks you won’t want to miss, our packed ISE 2025 Guide has got you covered. On top of that, this issue’s headline interview features Quayola, ISE keynote speaker and virtual artist. He shares his thoughts ahead of the show as well as discussing AI’s positive influence on the creative AV landscape. We also get the BTS breakdown of his epic projection on the Casa Batlló, Arborescent , which will appear on the Gaudí landmark’s surface on 1 and 2 February. If you’re attending ISE, we look forward to connecting on the show floor!
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CONTENTS
LIVE.
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34 CVP 57 ASTERA SPONSORED CONTENT
06 NEWS AND UPDATES
52 INSTALLATIONS
We bring you the latest AV scoops, from immersive Mamma Mia! The Party to Danish theme parks
Discover Portals: a mysterious project that aims to connect people around the world
14 ISE 2025 GUIDE
58 ROUND TABLE
Heading to Barcelona in Feb? Then don’t miss our in-depth guide to this year’s show
This issue’s panel hail from the LED sector; they shine a light on this fast-moving space
22 THEATRE FOCUS
66 SIGNAL FESTIVAL
The world of stage has pioneered a lot of AV tech and practices. We discover shows leading the way
The LIVE team headed out to Prague to catch Europe’s largest digital art event
36 EDUCATION
74 INNOVATOR PROFILES Our regular segment, interviewing the movers and shakers forming AV’s deep pool of talent
Meeting the experts behind Testimony 360 , a VR approach to teaching the Holocaust
This issue’s cover was designed by Carl Golsby at Bright Publishing. Cover image by Brinkhoff- Moegenburg courtesy of Mean Girls The Musical
76 BUYERS’ GUIDE
42 INDUSTRY ICONS
An exclusive sit down with ISE Creative Keynote speaker and renowned virtual artist Quayola
Microphones have never been more dynamic and accessible. We help find the right one for you
MEDIA PARTNERS
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CONTENTS
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NEWS
MY, MY!
Mamma Mia! , based on the music of ABBA, has been a sensation on stage and screen for decades. Now it’s an immersive dining experience at London’s The O2. Mamma Mia! The Party has extended its run to 31 December 2025 due to popular demand. Ian Kelsey will join the cast in early February, replacing Federico Zanni – who originated the role – as Nikos. 2025 marks the 50th anniversary of ABBA’s Mamma Mia , which the Swedish group released just a year after its win in the Eurovision Song Contest. Mamma Mia! The Party has been running at The O2 for five years, having welcomed over half a million guests so far.
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MAKEOVER AT MANCHESTER
The University of Manchester has upgraded its Martin Harris Centre for Music and Drama, home to two key performance venues – the Cosmo Rodewald Concert Hall and the John Thaw Studio Theatre – equipped with EM Acoustics audio systems. This makeover allows the centre to meet the evolving needs of the university, improving the AV experience for students, teachers, performers and audiences. To support a variety of events – including classical-music concerts, comedy performances, poetry readings and more – the centre installed eight Halo-C line array loudspeakers on each side of the concert hall, as well as two R8 loudspeakers at stage level and two supporting S-15 subwoofers. In the Studio Theatre – which doubles as a teaching space – there are seven R8 hangs on the left, right and in the centre, 12 EMS-51X speakers and two S-15 subs. Now, both venues – and those who use them – benefit from state-of-the-art audio technology. “The recent upgrade has significantly improved operations,
which makes life easier for everyone,” remarked Karl Spencer, senior technical and buildings manager at the Martin Harris Centre. “Students enjoy a higher-quality experience, and our teaching and technical-support teams can focus on their work without the burden of lengthy set-up times or complicated systems.”
CONTEMPORARY CLASSICAL
“During planning, we proposed L2 as mains with Kara sides for smaller venues, scaling up to K1 for arenas, with L2 as sides,” said Chris Beddall, Il Divo’s FOH engineer. With Adlib, he prioritised vocal clarity while acknowledging each venue’s unique architecture – a decision that was transformative for audio quality.
Il Divo, a classical quartet with unparalleled international reach, recently wrapped its UK and European tour. With the help of event technology specialists Adlib, the group employed an L-Acoustics L Series sound system, with number and placement of speakers and subwoofers dependent on venue.
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BULLETIN
THE SONIC SOUL OF SUFI Indian Sufi music is known for its spirituality and soulfulness, and one of its leading performers is Bismil ki Mehfil (Bismil for short). At an outdoor concert at Delhi Technological University, Bismil sang his hit single Tere Bina , his cover of Kali Kali Zulfon Ke Phande and more for an audience upwards of 7000. Martin Audio stepped in to capture and convey the concert’s emotion and energy, providing its flagship WPL line array. To ensure consistent audio coverage, the venue installed eight WPL on either side and in the centre, 12 SXH218 and eight SX218 subwoofers and iKON iK42 DSP 4-channel amplifiers. The combined result was a world-class sonic experience for all attendees, allowing them to connect all-the-more profoundly with Bismil’s performance. peninsula is Fårup Sommerland, one of the country’s largest and most popular amusement parks. Each year, the park hosts Lysfald, a three-hour light show which attracts over 12,000 guests per day and – though held in autumn – represents each of the four seasons. To put on this spectacular synchronised display, Fårup Sommerland turned to Obsidian Control Systems. Dealing with such a large-scale event (the park covers the equivalent of 28 football fields) is often a challenge, but Obsidian’s Netron EN6 IP nodes made it simple. “We were looking for new nodes with more ports, because it’s a vast area, and we have
COMING TO CLASSROOMS
Marshall Electronics is expanding its educational reach, with Lake Washington School District the latest to install the company’s CV605-U3 PTZ cameras and corresponding remote controllers. By integrating this technology, these Washington-state schools are transforming the classroom experience for both students and teachers, who have already provided positive feedback. OUT WITH THE OLD For 18 years, 28 December has unofficially served as Good Riddance Day, an annual holiday meant for releasing negativity from the preceding year and wholly embracing the new one. Zenapptic.AI brought its ZEN3 platform to Times Square during 2024’s celebration, offering an interactive experience to passers- by and encouraging them to submit messages to be displayed on an 148ft LED display.
DANISH DISPLAYS Up on Denmark’s Jutland
everything spread out across the site,” said Jonas Storgaard Johannesen, technician at Profox, which provides the park’s AV solutions. The EN6 IP nodes “gave us a robust, flexible lighting network,” he added, with each one (of 12) controlling about 500 lights. Being IP66-rated, the EN6 IP nodes hold up under northern Denmark’s harsh autumn weather. “We didn’t have to worry about protecting the nodes from rain,” explained Johannesen. “That saved us both time and resources.” The Netron EN6 IP nodes also illuminated the park’s seven roller coasters, including Denmark’s tallest and fastest, Fønix (Phoenix), enhancing the overall experience for visitors.
A NIGHT TO REMEMBER
Held in Lisbon, the GQ Night of the Year party used Christie projectors – the M 4K25 RGB, Captiva DWU500S, GS and HS models – to provide its attendees with an immersive audio-visual experience throughout the venue: the Palacete wing of the Tivoli Avenida Liberdade Hotel. The projected content included GQ magazine covers, digital signage and other creative visuals in line with the event’s renowned elegance. DIY VFX The latest solution from Sleepy Circuits, Mezzz is a wireless handheld device designed for live artists. Offered in an impressively compact casing, it adds pro-grade VFX to performances, whether in an intimate venue or a concert hall, giving artists real-time control over their show’s visuals.
NEWS
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EARTH, WIND AND FIRE
In total, the tour required eight to 16 projects for each temporary installation, plus the Pixera One Gen 2 Director and Pixera Two Gen 2 Octo servers. Sound was provided by d&b Audiotechnik. Following Eonarium’s success, Projektil plans to launch a permanent initiative, DAIA (Digital and Immersive
Liverpool and Marseilles – among others – and brings a fresh look and sound to each iconic venue. The 360° experience lasts 30 to 45 minutes, with Pixera handling media processing, compositing and management in real time. Designed by Projektil’s visual artists, musicians, programmers and the like, Eonarium depicts the formation of planet Earth.
The Eonarium Experiences tour, organised by Swiss artist collective Projektil, is an immersive projection mapping project which includes over 30 churches and cultural sites across Europe. To power this endeavour and bring each space to life, Projektil used AV Stumpfl’s Pixera media server. The Eonarium tour includes buildings in Stuttgart, Geneva, Madrid, Hamburg,
Art) in select locations across Switzerland and elsewhere.
FESTIVAL MARKS COUNTRY FIRSTS
An annual event dedicated to Afrikaans music, Liefde By Die Nam is one of Namibia’s premier festivals. Most recently, dB Audio Namibia and Stage Audio Works Namibia worked together to manage the outdoor audio system, thus meeting the event’s complex technical demands. To do this, dB Audio used the Yamaha DM7 console for FOH mixing and Sennheiser EW-DX EM 4 Dante receivers – the first time these two models were ever deployed in Namibia – as well as d&b Audiotechnik’s V-series loudspeakers. “The support provided by Stage Audio Works ensured audio equipment functioned seamlessly, enhancing the festival’s technical performance,” reflected project manager Char-Ann Husselmann.
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ON DISPLAY
The car manufacturer’s main showroom, Porsche’s recently-opened Centre Friedrichshafen is a modern blend of dynamic lighting design and sleek architecture. A space full of reflective surfaces and brimming with that new-car smell, PCF invites potential customers and Porsche enthusiasts alike to view these iconic automobiles and treat their senses too. Headed by architecture firm Dienberg Architekten, the centre combines lights from LTS Licht & Leuchten, design from Licht & Plan and fittings installed by Oberhaizinger Corporate Design. Also referred to as ‘Destination Porsche’, the showroom converts each area into a stage where the vehicles command attention. LTS’ Jett and Jamie spotlights, as well as the StraitLine linear light and the CSA downlights, illuminate these exhibitions and provide a pleasant shopping experience for anyone who walks through the door.
KOREAN COMMS South Korea’s Daegu Concert House, home to East-Asian orchestral and classical music, has upgraded its technical infrastructure with Riedel’s Bolero wireless intercom system and Artist-1024 matrix. Together, they enhance the venue’s operations via newfound efficiency and effectiveness. The Bolero system – one of Riedel’s most popular solutions – ensures crystal-clear comms through its RF performance and extended antenna coverage, even in the presence of large crowds, while its extensive battery life eliminates the need for additional devices. Meanwhile, the Artist-1024 matrix supports up to 1024 ports. “This upgrade to the Artist and Bolero systems allows us to focus on delivering world-class performances,” said Mi Chu Cho, director of sound and stage, arts department at Daegu Concert House. On the Riedel side, Vincent Lambert, director of key accounts for Asia said, “As a first-of-its-kind installation, this project will surely have a significant impact on South Korea’s performing arts culture.”
ALL THE WAY UP
– one floor up – offers British and European eats. Across the three floors, the establishments installed a range of ESD speakers, including 13 ESD 5s, 12 ESD Cubes, six ESD 1.12s, ESD 10s and ESD 8s and finally, two ESD 1.15s. “The results were exceptional,” said Mark Damon, CEO of Cosmic Electronics, the company that was employed to do the installation. “Sushisamba and Duck and Waffle both offer a one-of-a-kind dining experience, so they had to have the sound to match.”
Located in London’s Heron Tower, Sushisamba and Duck and Waffle offer two distinct, yet equally appealing dining options. Both featuring breathtaking views of the city’s financial district and beyond, the two restaurants chose to elevate their audio systems to provide an even better sensory experience – and both opted for KV2’s ESD loudspeakers to do so. Occupying the tower’s 38th and 39th floors, Sushisamba fuses Japanese, Brazilian and Peruvian cuisine, while Duck and Waffle
NEWS
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BULLETIN
OUTDOOR ACTIVITIES
Newly opened in Orange County, California, Great Park Live – an outdoor amphitheatre nestled in suburban neighbourhoods – uses Eastern Acoustic Works to give audiences an exceptional sonic experience without disturbing the surrounding dwellers. The custom system includes a set-up of 24 Anya loudspeakers (12 per side) and 24 Otto subwoofers, allowing the venue to maintain clarity when volume is adjusted. STRIKING A CHORD Freemonk, a British music producer and mixing engineer, has added the Chord Electronics Alto to his set-up at The Friary Studios. The headphone and nearfield monitor amp drives his NS-10 monitors – which he ‘relies on quite heavily during tracking, production and mixing’ – giving them more depth. Freemonk reveals that after installing the Alto: “I felt like I knew what I was hearing again.” CITY LIVING Tateside recently led the technology integration of Urbanest, a new student living centre in Battersea, London. Working closely with the developers, Tateside preserved both sustainability and utility by offering energy-efficient AV tech, such as a 77in Panasonic OLED screen for the building’s communal cinema. TRAINING DAY Lockheed Martin’s F-35 pilot- training programme recently received an upgrade, thanks to RGB Spectrum’s Zio video-over-IP platform. The solution streams high-resolution visuals in pilot cockpits, instructor stations and debrief rooms, enabling flight simulations, real-time monitoring during sessions and playback and analysis after the fact.
AUDIO UPGRADE FOR MONASTERY
Heinz supplied its Iconyx Compact ICC36/3 loudspeakers – compact enough to blend into the church’s aesthetic, yet robust enough to provide powerful sound coverage. Elsewhere, the UBX4 and UBX8 passive directional speakers reinforced and extended the audio, while OmniBeam software gave the church precise control over each speaker. “The success of this project demonstrates how technology can enhance traditional spaces without compromising their essence,” remarked Michal Poplawski, export sales and marketing director at Renkus-Heinz.
In the heart of the seaside city of Pula, Croatia lies the Church and Monastery of St Francis, dating back to the 1300s and dedicated to worship and cultural gathering. Featuring a pipe organ and elevated sanctuary, the building regularly hosts concerts and other exhibitions. In an effort to evolve with the times, the church has collaborated with Renkus- Heinz to transform its audio experience. The church’s gothic architecture presents a number of challenges – namely its high ceilings and stone walls, which create an echo effect that impacts audio clarity. To overcome this, Renkus-
TED TALKING INTERCOMS
With Clear-Com’s help, TED’s production team can handle its complex and often high-stakes communication needs during live events. Integrated with its existing network, the new solution offers minimal latency, pristine audio quality and additional channels. The bespoke system also adapts to other workflows, including remote production – encouraging streamlined, hybrid connection among all team members.
TED Conferences – born out of the famous TED Talks – recently tapped communication specialist Clear-Com for an upgrade to its New York production facility. Bolstering its real-time communication capabilities, Clear-Com provided a custom intercom solution based on its Arcadia Central Station system, as well as its Freespeak II suite, Gen-IC virtual intercom and Helixnet Digital Network Partyline.
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BACK TO BARCELONA
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T he world’s largest audio-visual and systems integration trade show saw 73,891 visitors last year – the highest of any ISE edition so far – with many countries seeing significant increases in attendee numbers. The 2024 edition took place from 30 January to 2 February, and a total of 363 expert speakers took part in the programme of panel discussions, conferences and presentations. There was also a 7% increase in the number of media representatives covering the show, with the largest contingent coming from Spain itself. ISE 2025 not only has some exciting new additions, but there will also be plenty of speakers throughout the show discussing some of the most pressing AV topics. Here are our top tips if you’re heading to the Fira in February! HOT TOPICS Taking place between 4 and 7 February, ISE 2025 will introduce track sessions. From Tuesday to Thursday, attendees can engage with expert panels on five key industry megatrends: AI, audio, cybersecurity, retail and sustainability. AI AI has been a key topic in recent years, with the use of the powerful technology modernising creative possibilities. Digital analyst, author and visionary Brian Solis will take to the stage on 4 February to present the opening keynote. He will share his vision on how the pro AV and systems integration industry can evolve and innovate through the latest developments in AI. AUDIO One half of AV, audio is a vital component – not only in the live-events space, but at the heart of everything we do. Make sure to attend the audio events – including A Sonic Revolution: The Future of Audio with AI – with speaker Claudia Feiner, who will highlight how smart tech is elevating every rhythm and melody, pushing the boundaries of creativity in sound production. CYBERSECURITY In 2020, Cybersecurity Ventures estimated that annual worldwide cyber crime costs would hit $10.5 trillion by 2025. The cybersecurity sector is LIVE is returning to the Catalan capital for one of the biggest events on AV’s calendar. Here’s everything you need to know ahead of this year’s show! Words Oliver Webb
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seeing significant growth, with the global workforce now estimated at 4.7 million professionals. As hacking and major data breaches continue to rise, both organisations and individuals face increasing risk. ISE will be hosting a series of speakers, who will discuss key subjects such as counteracting counterfeiters, navigating cybersecurity risks in digital signage, cyber defence and building an intelligence and operations centre for the future. RETAIL The retail sector is another major focus point of ISE 2025. On 6 February, there will be panels throughout the day engaging in key discussions on retail, including customer experience design, real-time visuals, digital signage content, retail media and blurring the boundaries between physical and virtual spaces. SUSTAINABILITY It’s more crucial than ever that the AV industry takes additional steps in combatting climate change. Key areas like waste management, carbon emissions reduction, energy efficiency and recycling are essential in tackling this issue. During the show, panellists will discuss how to meet the 2030 sustainable development goals, align with these for a more sustainable planet and offer guidelines for sustainable AV.
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ISE 2025 will feature informative conferences on smart buildings, digital signage, AV broadcast, education technology and high-tech innovation in Europe and Latin America. Here’s a round-up of the events we’re most looking forward to. KEY CONFERENCES
ISE 2025 will host a series of insightful conferences – all aimed at exploring the future of digital transformation
being used to generate video content that excites audiences around the world. Hannah Shellswell and Ciarán Doran will co-host the AV Broadcast Summit. EDUCATION TECHNOLOGY SUMMIT 5 February, 14:00-18:00 / CC5.1 The Education Technology Summit will delve into how to deliver truly intelligent digital learning. Intelligence isn’t inherent in the tools we use; it’s shaped by good learning design, effective business processes and a commitment to equity and sustainability in achieving the desired learning outcomes.
SMART BUILDING SUMMIT 4 February, 10:30-18:30 / CC5.1
This year’s Smart Building Summit will report on how digital transformation in buildings is being impacted through the integration of IT and operational technologies, highlighting the best practices. Check out the smart building talks on 4 February, covering topics such as realising the value of smart buildings with enterprise agility, AI in the smart building platform and big imperatives for smart building in 2025.
EUROPEAN LATIN AMERICAN AV FORUM 5 February, 10:30-14:00 / CC5.3
High-tech innovation in Europe and Latin America is forging unprecedented opportunities for collaboration and commerce between these two dynamic regions. The European Latin American AV Forum offers a unique platform for government representatives, industry leaders and AV professionals from Europe and Latin America to forge strategic partnerships, explore business opportunities and drive innovation across the AV and digital sectors. SMART HOME TECHNOLOGY Tuesday 4 to Thursday 6 February / CC1 Workshops and courses will offer valuable insights on subjects including residential alternative energy systems, exceptional residential cinema design, lighting system fundamentals and healthy home solutions.
DIGITAL SIGNAGE SUMMIT 5 February, 10:30-14:30 / CC4.1
Business-critical digital signage requires stable, secure and sustainable platforms and solutions. As the industry shifts from ‘hang and bang’ to ‘signage as a service’, it must adapt business models, offerings and technology to meet these various requirements. The conference will be curated and hosted by Florian Rotberg and Stefan Schieker of Invidis Consulting.
AV BROADCAST SUMMIT 5 February, 10:30-17:00 / CC5.2
The AV Broadcast Summit will explore how the most exciting and groundbreaking technologies from the world of cinema, TV and gaming are
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IMMERSIVE INSTALLATIONS
ISE 2025 is set to introduce organised tours, taking visitors behind the scenes of major AV installations across the city. Below is a selection of just some of what’s on offer throughout the show. REDEFINING NEWS AND MEDIA PRODUCTION WITH AI AND VIRTUAL PRODUCTION STUDIOS Tuesday 4 February, 14:00-17:00 Grup Mediapro’s CTO and operations manager Emili Planas Quintana, and virtual production manager Isaac Bergada, will showcase its newly refurbished VP studio and newsroom in Barcelona, highlighting the company’s role in revolutionising media production. WHITE RABBIT – THE OFF MUSEUM Wednesday 5 February, 10:30-13:00 Curated with a distinctive Catalan influence, the museum brings together artists from Barcelona and tech experts to create futuristic installations. These installations, ranging from digital artworks to immersive soundscapes,
showcase the vibrancy and innovation found in Barcelona’s creative community.
FC BARCELONA’S BARÇA IMMERSIVE TOUR Friday 7 February, 09:30-12:00
Home to the largest immersive room in any European sports museum, Mediapro Xperiences offers a guided tour through a 500 sq m space featuring an innovative 360° production. This experience employs deepfake technology to bring football legends such as Johan Cruyff, Andrés Iniesta and Lionel Messi to life.
L’AQUÀRIUM DE BARCELONA Saturday 8 February, 11:00-13:00
Presented by Trison, the tour previews upcoming features such as black magic glass overlays on marine tanks, providing a glimpse into the future of experiential design. Highlights of the tour include a 3D façade, a holographic welcome experience and a reimagined ticket hall featuring an underfloor LED digital sea paired with an LED water ceiling.
Behind-the-scenes tours of media studios, immersive art, futuristic designs and more at ISE 2025
BEST OF BOOTHS On the floors of Fira de Barcelona, Gran Via, you’ll find many attendees building connections old and new. Be sure to say hello and visit the following companies:
UNILUMIN (Booth: 3C300)
Unilumin recently celebrated its 20- year anniversary. It provides professional LED application services, including the world’s leading LED display and lighting products and Metasight solutions.
ARGOSY (Booth: 5C440)
Argosy is a premier international distributor of critical infrastructure products tailored to meet the needs of the broadcast, media and AV industries. The company’s range includes cables and connectors, equipment racking,
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Evac-certified voice evacuation and professional sound systems.
SAMSUNG (Booth: 3F500)
Samsung inspires the world and shapes the future with innovative ideas and technologies. It continues to redefine industries, from TVs, smartphones and wearable devices to tablets, digital appliances, network systems, memory solutions, system LSI, foundry and LEDs.
2N (Booth: 2K100)
Since 1999, 2N has offered a diverse portfolio of future-proof IP intercoms, answering units, access readers and elevator solutions. Complemented by online tools and apps, these products fit any residential or commercial project seeking to bring end-users high security and modern convenience.
MAGEWELL (Booth: 5C600)
Magewell solutions support key technologies such as NDI, SRT, Dante and many more, serving thousands of customers worldwide. Applications include live event streaming, production, video conferencing, multi-site video distribution, remote learning, medical imaging and more.
MEYER SOUND (Booth: 3N820)
Founded by John and Helen Meyer in 1979, Meyer Sound is headquartered in Berkeley, California, with operations worldwide. Meyer Sound provides high-quality solutions for touring, festivals, houses of worship, cinema, education, corporate and residential.
UTELOGY (Booth: 2W150)
Utelogy Corporation publishes an enterprise-grade software platform for managing, monitoring, controlling and automating connected workspaces. At ISE 2025, attendees to booth 2W150 will experience Utelogy’s updated room and asset configuration tools, which streamlines global deployments while also featuring an intuitive, redesigned user interface.
Get hands-on experience of the latest in media technology with live demos from industry trailblazers
patching and cable management solutions, KVM and connectivity options, as well as distribution and video processing devices.
LIGHTWARE (Booth: 3C800)
CLEAR-COM (Booth: 4N900)
INFILED (Booth: 3B100 + 3B150)
A manufacturer of connectivity solutions for the professional integrated systems market, Lightware will exhibit its industry-leading USB-C and AV innovations. The company will present ten live product demos, highlighting its expertise in USB-C technology. MAKING MEMORIES Whether this is your first ISE visit or you’re a seasoned attendee, there is plenty to be excited about for this year’s show. With 1510 exhibitors to meet, 360 guest speakers and eight halls to explore, we can’t wait to see you there!
Clear-Com, an HME company, is a trusted global provider of professional real-time communications solutions and services, innovating market-proven wired and wireless technologies.
With installations in over 87 countries and more than 200 patents – one of the highest numbers in the industry – Infiled has become a top brand for LED screen manufacturing, offering high-end LED display solutions for building immersive and realistic content, enhancing the visual experience of customers.
CHRISTIE (Booth: 3K500)
Christie is an international audio and visual technologies company which offers a diverse range of projection, including advanced RGB pure laser projection, LCD panels, video walls and video wall processors. Their portfolio also includes SDVoE technology, image processing, content management and much more.
BOSCH SECURITY SYSTEMS BV (Booth: 3C500)
With over 65 years of expertise designing and developing communication products, Bosch Security Systems established unrivalled leadership in the field of conference and public address,
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SCENE AND HEARD From blending live video and performance to integrating immersive soundscapes, theatre and AV have never been more entangled
Words Verity Butler
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24 THEATRE A s the ways in which people prefer to consume entertainment have drastically evolved – the world of stage has also reimagined the theatre experience. More than ever before, interactive, holographic and virtual storytelling techniques are being deployed by some of the world’s best-selling shows. These futuristic and digitised versions of live performances have been seen to rake in some impressive figures – often, notably, piquing the interest of audiences who wouldn’t necessarily classify themselves as ‘theatre nerds’. This new approach has also received its fair share of controversy, with some criticising it for being damaging to what theatre stands for. “You often hear silly blanket statements from people saying that certain tech doesn’t work in theatre,” comments Tony Award-nominated director Jamie Armitage. “The truth is anything can work; it’s the storyteller’s responsibility to make sure it lands.” LIVE sits down with Armitage, along with other directors and technical integrators, to understand exactly what it takes to make AV in theatre ‘land’ and explore the award-winning shows that are spearheading this movement. MY NAME IS REGINA GEORGE If you’re a fellow TikToker, you’ll instantly recognise the above as a viral line from the sultrily sung Meet the Plastics number from hit musical Mean Girls . If not, you’ll still likely recognise the name from the wildly popular original 2004 film starring Lindsay Lohan and Rachel McAdams. The international success of the film meant fans all over the world were delighted by the announcement of a musical adaption being in the works – revealed on 3 October 2016, an iconic date because of its mention in the film. A rock musical with lyrics by Nell Benjamin and music by Jeff Richmond, and accompanied with a book by Tina Fey, the story focuses on Cady Heron, a
teenage girl who transfers to a public high school after being homeschooled in Africa for her whole life. At her new school, she befriends outsiders Janis Sarkisian and Damian Hubbard who persuade her to infiltrate the ‘Plastics’. When it premiered at the August Wilson Theatre on Broadway, FRAY Studio worked closely with both director Casey Nicholaw and set designer Scott Pask to create the sophisticated, fast-paced and at times surreal world of North Shore High’s famous students. “We first worked on the show when it launched, then on Broadway, then the US tour version,” says Adam Young, co-founder and creative director at FRAY Studio, “and now it has landed in the West End. What’s unique about this show is that the entire set is built from LED screen – a creative decision that was made right at the start of the process. “With the script written by Tina Fey, her style of comedy and writing involves lots of short scenes – there were even some songs that jumped between 25 locations in the one song.” The video content backing the show’s set throughout the performance offers the audience a unique insight into the characters’ inner worlds. “Nicholaw had never incorporated video before, but he knew it was the right way to go with this show. When FRAY got involved, we pushed it towards LED screens rather than projection, as Broadway musicals can be very brightly lit, so projection wouldn’t be able to cut it alongside stage lighting,” says Young. The video content for Janis, the ‘art freak’ of the show, was drawn up with markers and has a rough, unpolished feel. Whereas the video initially revealed Queen Plastic Regina’s inner world to be pink and polished, before transforming it to become James Bond-inspired when she begins to seek her revenge. “Due to the large volume of LED involved, we essentially had to develop the entire show before rehearsals even started,” Young continues. “That involved previsualising everything in Disguise. Nicholaw emphasised that the video content was as much a character as the people on stage were.” In all the musical numbers, the video worked in sync with the choreography, lighting design and live band, taking the production beyond the constraints of the
stage and reflecting the vibrant attitude and wry humour of Tina Fey’s writing. Universal Pixels was selected as the most suitable candidate to meet the show’s challenging technical demands. “The complexity of this project stemmed from the fact that LEDs are not traditionally used in theatre,” adds Hamanshu Patel, project manager for live events at Universal Pixels. “It became clear to us that the best option was to implement the Roe Black Onyx 3 panel – and we ended up with close to 450 LED tiles.” Bringing LED to the stage brought with it a host of new challenges. “There’s a lot of automation and moving parts,” Patel continues, “traditionally on a music tour, we’d just leave the cables dangling at the back of the screen, but in theatre these have to be tucked away, making
WATCH ME See a trailer for the Broadway edition of Mean Girls here!
The hundreds of LED panels serve to enhance the plot and characters
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The video content was as much a character as the people on stage were”
Careful colour balance was crucial considering the bright pink hues used
sure they don’t get caught on anything while the LEDs move in.” With the show’s vibrantly bold palette, particularly the extensive use of hot pink, colour is a critical piece of the overall technical puzzle. “Since the screen takes up so much of what you’re seeing on stage,” expands Young, “when you combine it with stage lighting, makeup and everything else involved, you really have to consider the balance you create on every screen.” For Universal Pixels, time – or the lack thereof – was a major hurdle. “I think we had a three-week turnaround for getting the custom cables made because they couldn’t be measured until we actually got into the theatre,” says Patel. Universal Pixels stepped up to the plate, being a crucial component of the show’s technical set-up and success.
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Attention-grabbing AV attracts the newest generation of cinema-goers
Mean Girls only emphasises AV’s increased standing in the theatre space, and Young believes that “we’re definitely going to see more LED go into theatre productions – especially now that the cost is at a point where budgets can actually accommodate it. “We’re also seeing a blurring of the lines between cinema and stagecraft, with younger audiences used to and therefore seeking more dynamic and fast-paced forms of entertainment.” A SELFIE OF DORIAN GRAY Oscar Wilde’s The Picture of Dorian Gray is a creative’s dream when it comes to source material. A classic exploration of morality and the consequences of unchecked desires, Wilde’s critique of Victorian society and the duality of human nature invites readers to reflect on pursuing pleasure without regard for ethical boundaries. As discovered by Kip Williams, award-winning Australian writer and director of theatre and opera, the themes within the 135-year-old tale couldn’t be more applicable to society in 2025. Following a successful career directing major theatre and opera productions, Williams’ ‘cine-theatre’ trilogy of The Picture of Dorian Gray , Strange Case of Dr Jekyll and Mr Hyde
What Williams alludes to is the striking solo performance format of the show, with the one actor taking on all 26 roles, both on stage and via pre-recorded content. Emmy Award winner Sarah Snook – star of the HBO smash hit Succession – will reprise her role for the Broadway production, having won an Olivier for the London show. “There’s never a moment where you’re not connected with the actor either live on stage or on the screens, and their body becomes the entire imaginative universe in playing every single one of the characters. “One of the big set pieces in the show is a dinner party sequence, where
and Dracula brought him international acclaim, leading The Economist to call his work ‘the future of theatre’. His groundbreaking production of Dorian Gray delivers an explosive interplay of live performance and video in an astonishing collision of form. It’s due to make its Broadway debut in March 2025. “The piece is appropriately wild in its paradoxical deployment of form,” explains Williams, “because the bedrock of it is an ancient, analogue model of theatre, in which an actor comes to the audience to directly tell them a story. The audience then stays connected with that same actor throughout the entire two hours of performance.”
Kip Williams’ boundary-pushing visuals for Dorian Gray, starring Sarah Snook, have been hailed as theatre of the future
I’m having to simultaneously make a feature film and a full- length piece of theatre”
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Sarah performs with about seven different versions of herself at one time.” With theatre becoming increasingly immersive, Williams’ blending of screen and stage is a craft he has been honing throughout his whole career. “I’ve been using video in theatre for ten years in my practice,” he emphasises. “Prior to Dorian Gray , I had a number of steadfast rules that I stuck to because it had to stay true to the essence of what theatre is about. One of those was that the video had to be live – the audience could see the live performer and camera operator – and that the live images existed only in the now. With Dorian Gray and the cine-trilogy, I decided to break this rule and deploy pre-recording as well. This came out of several years spent dreaming up a form whereby one performer could deliver all roles.” Williams explains that the choice of technology across the trilogy worked to mirror key elements of the stories being presented. “They manifested in several different ways, and it’s what I refer to as ‘cine-theatre’; a synthesis of live video, live performance and pre-recordings. Each show in the trilogy has its own
WATCH ME The Picture of Dorian Gray moves from the West End to Broadway
different shots and angles. This includes six LED screens suspended from above, three Steadicam operators, three tripod cameras and four mobile phones. “I’m having to simultaneously make a feature film and a full-length piece of theatre in the same timeframe you would usually have to make a standard piece of theatre. “There’s the technical complexity of bringing that to the theatre itself, where you have the camera operators, and Sarah having to hit marks on the stage with micrometre-level precision in order for the live and the pre-recorded shots to line up perfectly. The stage manager has to call hundreds of cues to make the screens, cameras, sound and lighting all line up perfectly.” Then comes the acting challenge of not just performing 26 characters, but interacting with them in their various live and virtual formats. “There’s a club scene where all the characters come through via Snapchat filters,” Williams offers as an example, “which Sarah has to respond to with minute precision.” When it comes to directing such a feat, William says “Sarah and I come together to find the psychological landscape of the piece, and then we start to layer the technical elements on top of that bit by bit. One of the biggest challenges she faces is acting opposite the pre-recorded content; if she’s slightly too long or short with her line, then it’s going to talk over her, or there will be an awkward pause. “Sarah is virtuosic in her musical ability to effortlessly feel like she’s interacting in a way that is live and spontaneous.” The Washington Post , in its review of The Picture of Dorian Gray , describes it as being “so revolutionary, remarkable and dazzling you’ll think you’re gazing into theatre’s future.” SKATING THROUGH SOUNDSCAPES One of theatre’s biggest names, composer and musician Andrew Lloyd Webber, has been behind some of the world’s most beloved musicals. From The Phantom of the Opera to Joseph and the Amazing Technicolour Dreamcoat to Cats – which infamously led to one of Hollywood’s most viral flops, featuring an unsettlingly furry James Corden. Webber has nevertheless undoubtedly made his mark in the world of stage, owning seven theatres across
particular relationship with the technology being used. Dorian Gray is the founding work of the three, using screens but also pushing into mobile phones, which makes sense given the nature of the story. It looks at our cultural obsession with image, youth and beauty, paired with contemporary technology allowing it to grow at an alarming rate.” Over the course of the entire show, the audience witnesses hundreds of
This came out of several years spent dreaming up a form whereby one performer could deliver all roles”
The biggest challenge for the actor is landing all the positions and cues, to ensure integration of the effects is seamless
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Celebrated sound designer Gareth Owen stepped up to the task and created an impressive installation”
Starlight Express is renowned for its innovative technical qualities
so it should come at little surprise that sound is the focus for this example. Last year marked its 40th anniversary, and the famed musical is currently running at the Troubadour Wembley Park Theatre. Celebrated sound designer Gareth Owen stepped up to the task and created an impressive installation of four d&b DS100 processors driving d&b’s Soundscape system through a collection of more than 350 loudspeakers. This latest project stands as one of his most intricate sound system designs to date. Owen first used Soundscape back in 2019 for the high-profile rejuvenation of Starlight Express in Bochum, Germany. He has since become a key exponent of this immersive sound technology. “I have this great story of when Andrew Lloyd Webber went to see the German production of Starlight ,” Owen begins. “He went backstage to the orchestra pit and asked them what they were playing, as it wasn’t what he wrote. He asked to
London and having several musicals run for over a decade in the West End and on Broadway. Starlight Express is yet another of these achievements, with the show first running in 1994, featuring music by Webber and lyrics by Richard Stilgoe. It tells the story of Rusty, a young but obsolete steam engine who decides to race in a championship against modern locomotives – diesel and electric engines – in hopes of impressing a first-class observation car, Pearl. Most notably, the entirety of the bright, spacey show is performed in roller skates. With 7409 performances in London, Starlight Express is the ninth-longest- running West End show. It’s the most successful musical in Germany, where it has been performed in a purpose-built theatre since 1988 – now holding the Guinness World Record for most visitors to a musical in a single theatre. Webber is best known for musical composition,
see the scores, and they replied that they’d been playing it for 30 years and so didn’t need them. He then decided that the show needed a complete refresh in music, sound, lighting – everything. “They closed the show for a couple of weeks, and we went in and replaced the entire sound system. That was our first outing with the d&b Soundscape system, which had only been used once in theatre up until that point. “It was a big success, and Andrew was very happy with it. When it came to doing the new production in London, we were asked to deliver Soundscape for that too.” Having now employed d&b Soundscape on more than a dozen musical theatre sound designs, Owen has been integral to the development of the system. The result of a collaboration between Gareth Owen Sound Design and d&b, En-Snap is a cue automation software that provides significant show control workflow features. “Soundscape is part of this new generation with the buzzword of immersive audio,” continues Owen, “but the reality is that it’s essentially using the cocktail party effect. This is where you can pick out sounds from the mix and allow audiences to hear things in a way that a traditional sound system doesn’t.” This arena-style configuration – with performer action and audience listening zones in all directions – presented some considerable challenges for coverage and coherence. Owen concludes, “In what is a very complicated room, with
WATCH ME For a sneak peek at this out-of-this- world show, scan the QR code above
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In what is a very complicated room, with such a complex seating plan and performance area, we have achieved everything we could possibly achieve”
such a complex seating plan and performance area, we’ve achieved everything we could possibly achieve.” UP CLOSE AND PERSONAL A wildly popular genre, and often tricky to get right, crime is a popular subject of choice for stage, having been covered in a plethora of ways throughout theatre’s history. An Interrogation explores the crime thriller in a novel way by using a unique technical innovation, and was heralded as Summerhall’s fastest-selling show in eight years at the Edinburgh Fringe 2023, with the entire run selling out before its opening performance. This award-winning investigative drama is now transferring to London for a limited five-week run at Hampstead Theatre. It’s the debut play from Jamie Armitage, Tony Award-nominated co-director of Six: The Musical , and is a gripping piece about power, deception and individual perspectives of the truth. “Writing is something I’ve always loved,
but it was actually my directing which took off first,” introduces Armitage. “After spending a couple years of my life focusing on making the beautiful show that is Six , I decided to get back to writing, which coincided with the Covid-19 pandemic, and eventually I had a draft of the play which would go on to become An Interrogation .” The show places the audience inside a police interview room, as a detective works against the clock to try and solve a missing persons case. She sits down for a voluntary interview with someone who seems like the least likely person to be linked to the crime – a very respectable member of society – and as it’s voluntary, he has the ability to walk out at any moment he likes. “The detective has to play this very tricky game of speaking to somebody who she suspects might be linked to this case, while also having to maintain a friendly atmosphere.” Armitage explains how the story is based on video of a case
in Canada, in which a detective called Jim Smyth interviews a seemingly respectful member of society named Colonel Russell Williams, who was the commander of an Air Force base. “It was an astonishing video which struck me in that it wasn’t hyper-
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