The BFG caught the dream rig with White Light

Currently playing at the Royal Shakespeare Theatre in Stratford-upon-Avon, Roald Dahl’s unforgettable tale The BFG has been reimagined in a new adaptation by Tom Wells, directed by RSC Co-Artistic Director Daniel Evans. The production features a lighting design by Zoe Spurr, who partnered with White Light (WL) to supply the lighting rig.

The BFG tells the story of Sophie, a young orphan who is whisked away to Giant Country by a giant unlike any other. While human-eating giants terrorise the world, Sophie discovers that her new friend, the Big Friendly Giant, is a dream-catching gentle soul who refuses to harm humans. Together, they devise a daring plan to save children everywhere and prove that a dream can change the world.

From Sophie’s grey orphanage to the vivid landscapes of Giant Country, Zoe’s vision was clear: create a world that feels magical, fluid, and deeply connected to the narrative. “We wanted to contrast the drab, grey world of Sophie’s orphanage with the many colours referenced within BFG’s world,” explains Zoe. Colour became a powerful storytelling tool, guiding audiences through shifting scales and fantastical environments. Deep purples marked live scale changes, greens and pinks highlighted the grotesque giants, while glowing dream jars captured the audience’s gaze, pulling them into Sophie’s journey.

One of the most influential moments in shaping the lighting design was Sophie’s Daydream. Zoe comments: “This scene captures the pure joy and innocence of a magical dream, and its beautiful music inspired a palette of soft, dreamy colours that flowed throughout the production. To bring the audience into Sophie’s world, the rig was designed with dynamic movement, shape, and colour, creating an atmosphere that allowed everyone to share in the magic and elation of this special moment.”

The design was as much about movement and texture as it was about colour. “The production is almost entirely underscored with music,” Zoe notes, “and where music isn’t present, soundscapes shaped the world.” Lighting worked in harmony with video and sound, using flickers, pulses, and rotating gobos to evoke everything from giant footsteps to fireworks.

Growing up with the 1989 animated version of The BFG made this production especially meaningful to Zoe. That childhood love of the story inspired a design approach focused on creating magic for audiences of all ages. Zoe shares: “From inviting family members backstage to letting children experience the world of giants firsthand, the production became a truly collaborative effort. Even dream jar colours were chosen with help from young imaginations, ensuring the final scenes captured the wonder and joy at the heart of Dahl’s tale. Our goal was to craft an enchanting spectacle that holds narrative and storytelling at its core while delivering a visually captivating experience.”

Behind the scenes, the rig presented unique challenges. With multiple flying systems, projectors, and a new sound rig in play, space was at a premium. Zoe’s solution, a circular truss inspired by the set’s floor design, allowed for seamless integration of lighting, sound, and illusion systems. The choice of fixtures was equally strategic, including Martin MAC Viper XIP and GLP X5 Wash units, which proved ideal for compatibility with zactrack and Macula also supplied by WL, enabling dynamic followspot tracking for puppets up to four metres high.

Innovation was central to the process. “zactrack quickly leapt to be the front runner,” says Zoe, thanks to its ability to handle complex Z-axis movements and multiple light handovers. This technology, combined with PTZ Stage Precision and d&b audiotechnik SoundScape integration, created a truly immersive experience where lighting, video, and sound responded in real time to performers and puppets.

As the production prepares to tour to Chichester and Singapore, sustainability and adaptability remain key. Zoe ensured fixture consistency across venues while maintaining the creative integrity of the design.

Reflecting on the collaboration, Zoe shares: “WL understood the specificity of the lights I wanted and why. After such a rigorous technical R&D, we knew what we needed, and were really pleased to have the rig of dreams!”

From enchanting dream sequences to thrilling nightmare moments, The BFG is a testament to what happens when technical excellence meets creative partnership. WL is delighted to have played a part in delivering this magical spectacle and to have supported the talented team involved in this production.

Lighting Team Credits

Production electrician: Simon Spencer.

Deputy PLX: Matt Coombes.

Lighting Programmer: Andi Davis.

Second Programmer: Vic Brennan.

Followspot and Tracking Systems Engineer: David Stone.

Photo courtesy of Marc Brenne.