24 THEATRE & STAGE
screen could be flown and transitioned. This also reduced strain on the flying system and made handling and installation more straightforward. “Another key advantage was the quality of the panel itself. The CLO-M4L delivered a very flat and seamless surface with no visible joins, which is particularly valuable for theatre, where the screen actually often sits as part of the wider scenic picture.”
and suitability for a moving screen application,” introduces Ethan Forde, Universal Pixels’ VP of US operations. “The production required a large format LED wall that could physically lift and move during the performance, so weight became a critical factor from the outset.” Weight may sound primarily like an engineering concern, but in theatre every kilogram can have an impact on creative licence. A heavier screen demands larger motors and more cautious automation, whereas a lighter screen allows directors and designers to think bigger. “At approximately 25% lighter than other LED systems previously quoted and used on similar productions, the CLO-M4L made a difference to how quickly and efficiently the screen could transition during scene changes. Even small gains in changeover speed were important as the show operates with very tight cueing and fast-paced transitions.” Those fractions of a second matter massively – audiences may never notice when a transition is perfectly timed,
which is the production team’s goal. However, it would be instantly noticeable when one isn’t executed correctly. “The reduced weight also opened up creative and practical flexibility,” adds Forde. “The screen was mounted on a flying bar using carbon-fibre frames, and was able to move smoothly and reliably within the show’s automation system. It also made installation and handling much more efficient for the crew.” The choice of screen was significant, as it marks the first production to use Universal Pixels’ new Leyard CLO-M4L inventory, meaning one of the West End’s biggest musicals ultimately became the proving ground for a new LED platform. Introducing brand-new technology to a high-profile show always carries an element of risk, but Forde believes the benefits quickly justified the decision. “In this case, the advantages very clearly outweighed the challenges. At around 25% lighter than other LED systems previously quoted, it had a direct impact on how efficiently the
This allowed the content to feel more immersive, especially in the
scenes where video performs directly in line with the physical set and lighting. “As with any new product introduction,” Forde says, “there was an initial focus on ensuring full confidence in real- world performance within a live theatre environment, but once integrated, the system delivered reliability throughout
rehearsals and performances.” One of the main reasons that
this adaptation of Beetlejuice feels so visually distinctive is because the digital elements never seem to dominate the stage. As Forde emphasises, the video system was built around supporting a creative vision rather than dictating it. “The video system was developed closely around the creative direction of projection designer Peter Nigrini,
This adaptation of Beetlejuice feels so visually distinctive because the digital elements never seem to dominate the stage
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