The festival, which started in 2024 and is growing and developing each year, was staged in the gardens of the majestic and beautiful 11^th-century Château de Grillemont at La Chapelle-Blanche, south of Tours in France’s Indre-et-Loire region – a perfect summer environment for hosting the “Island of DJs”.

Loic worked closely with Corentin Poirier, the festival’s creative & executive director and founder, who designed the Maatea Stage’s dramatic scenography, based on a tall LED screen setup, which, together with the lighting, was based on the imaginative thematic concept of fire and rock, with the goal of creating a striking contrast between day and night atmospherics.

During the day, the need was for subtle lighting to highlight the depth and overall scenic texture created by the careful blending of stage and lighting designs, allowing the stage geography to stand out.

At night, the stage was transformed into a completely different space by the GigaPointe beams and their powerful and spectacular effects. The fixtures were installed in six vertical columns of eight fixtures, equidistantly spanning the stage and delivering a hugely impactful look and atmosphere, with video content featuring erupting volcanoes “reinforcing the visual universe,” explained Loic.

Loic stated that the organisers sought something unique and different in this design: “The main challenge was to create this new and different world, one that broke from a typical EDM festival stage design, looked distinctive and individual while still following a defined theme.”

This is the second time Loic – a lighting professional with 10 years’ experience – has lit this event, and the second time he had used Robe’s amazing, new, highly dynamic GigaPointe fixture, officially launched in February at the ISE 2026 Expo.

Tours-based rental company Multi Scéni – the lighting, audio and video equipment supplier to this event – has recently made this investment in GigaPointes, which were delivered by Robe France.

Loic has been an enthusiastic long-time user of Robe’s MegaPointe fixtures in his designs – choosing the fixtures for their versatility and scope. So, when he knew the GigaPointe would be available for this event, “it naturally stood out as the ideal choice!”

He comments on the GigaPointe’s “extremely powerful” laser source output, which “ensured that we could make a strong visual impact even over long distances.” He also appreciates its speed of movement, as well as the excellent array of new gobo and prism effects, which can be used to imagine a myriad of cool looks and scenes onstage.

One of the most important things for designing and programming EDM shows is to have a vast choice of distinctive looks – so the audience does not start seeing repeated scenes throughout the event… and this is exactly what GigaPointe offers.

The layout of the six columns of GigaPointes was instrumental to utilising the entirety of the stage dimensions – both horizontally and vertically – a geometric harmony that provided a balanced visual presence of all elements, with the fixtures a natural integrator/interpreter between the scenic fabrics and video surfaces.

Loic enjoyed many features of the GigaPointe, commenting that “the integrated rotating bar is particularly interesting, as it offers so many highly dynamic effects possibilities,” together with all the other features making it a potent, contemporary multi-purpose fixture ideal for all types of shows and events.

The festival’s logo, installed at the top of the structure, was also highlighted with two Robe iFORTES – rigged on the Layher structure – and another two iFORTES were used to front light the artists. iFORTE was chosen for this because it is a powerful fixture with excellent framing shutters and therefore perfect to pick out the detail of the 12-metre-wide logo, which was positioned 14 metres up on the structure.

Two Maatea Stage artists – Timmy Trumpet and Trym – brought their own lighting operators this year, who also appreciated the GigaPointes, and the rest were all lit by Loic and his team, including colleague lighting operator Lucas Bussy. They worked closely with video operator Bastien Sierakowski and SFX operator Paul Dubertrand under the project management of Charlène Rodrigues.

Loic regularly notes that Robe’s product range covers multiple applications – live shows, events and concerts or architectural lighting. “I always find a suitable solution using Robe,” he states, adding that the fixtures are reliable, high-performance, and versatile tools “consistently meeting the demands of our projects.”

Photo credit: Your Wolf Agency.

The post Moorea Festival Goes Giga with Robe appeared first on A1 Lighting Magazine.

White Light (WL) is proud to have supported the Watermill Theatre’s ambitious new production of Chitty Chitty Bang Bang, where lighting designer Jai Morjaria has delivered a bold and inventive design that transforms a compact venue into a world of spectacle.

Tasked with reimagining a much-loved musical within one of the UK’s most intimate theatre spaces, Morjaria approached the project with a clear brief to achieve the seemingly impossible. A single small stage needed to represent multiple locations while also accommodating a flying car, meaning lighting became central to how the story was told and experienced.

“We had to find a way to make a show that takes place in so many different locations exist within one small space, whilst still delivering the magic,” explains Jai.

This production differs significantly from traditional large-scale versions of Chitty Chitty Bang Bang. With a cast of actor-musicians and limited space, the design relies on creativity rather than scale. Lighting plays a pivotal role in supporting illusion and enhancing the integration of puppetry, automation and set.

The post White Light helps bring ‘fantasmagorical’ magic to life at the Watermill Theatre appeared first on A1 Lighting Magazine.

The GigaPointes were right at the heart of a highly dynamic lighting and stage design by Sven Kučinić from LumiLas LLC – who was delighted to get his hands on them!

He also used 173 other Robe products on the rig, as the show spiked enormous interest on all platforms and was the largest and most significant that Jozinović has played to date.

Due to last-minute changes in the production requirements, the whole lighting rig for the 360-degree show was fully reimagined – completely from scratch – in just six days ahead of the show, involving some long days and nights and serious concentration by Sven!

This presented a brain teaser and a challenge, but he rose to the occasion and created a highly multi-dimensional interactive environment to connect the young star with his fans that enthralled everyone, especially those for whom it was their first live music concert experience!

In addition to the GigaPointes, Sven’s design utilised 32 Robe FORTES, 32 CycFX 8s, 16 PAINTES, 24 LedPOINTES, 32 Spiiders and 32 Tetra2s.

Four Robe BMFL WashBeams were the follow spots, ensconced high up at the back of the audience bleachers. They were manually operated using Robe’s LightMaster side handle kits, with pan & tilt controlled by the operators and all other parameters run from Sven’s lighting console.

The rectangular-shaped stage – with thrusts emanating from the two short sides – was positioned in the middle of the arena, and above it was a rectangular-shaped video cube with screens on four sides, primarily dedicated to an IMAG mix.

When he knew that the GigaPointes would definitely arrive in time for these shows, Sven made them central to the design, and they were used for everything apart from key lighting, and especially for all the large scale looks, plus an array of mesmeric effects.

“It’s always exciting to use a new product,” he stated, adding that for several years MegaPointes had been a go-to for most of his creative projects, so it was a logical progression to change up to this bright and highly flexible new luminaire.

However, Sven also ideally wanted more, and ended up using 10 MegaPointes as support to extend the high beam concept.

The GigaPointes were positioned on trusses above the long side of the video cube in positions giving the highest (16-metre) and longest throws, perfect for aerial effects, where they had BIG impact blasting out from the arena roof space.

The MegaPointes were rigged on trusses in corresponding positions along the short side of the video rectangle.

Sven even found himself at times moderating the intensity of the GigaPointes, remarking that it is always “good trouble” having a fixture that’s too bright!

“They are a solid next-gen all-purpose fixture,” he commented. In addition to the intensity, he appreciated the interchangeability and the way GigaPointes worked with MegaPointes and the other Robe fixtures.

Apart from all of that, Sven is a bit of a laser nerd, so what he totally loved was “the way you can make GigaPointes REALLY emulate laser effects when needed,” adding that, “they are also the only laser source I’ve encountered to date that look like an LED light when in Spot mode – which is impressive engineering.”

He appreciated that the GDTF file for GigaPointes was already made available by Robe, making his pre-viz work much easier.

The initial versions of the design were produced months in advance using Capture and based on MegaPointes, as at that stage, no-one could exactly pinpoint the GigaPointe delivery date.

The 32 FORTES were hung just below the video cube on a trussing grid formation.

Running gobos and texturing on the stage with these FORTES seamlessly blended with the floor’s video effects, so it was impossible to tell between lighting and pixels, which was pretty cool.

Sven also used the FORTES to shroud the stage in intense light combined with smoke for a dramatic entrance effect, as Jozinović popped up from the centre on a lift.

Sven has always liked Tetra2s, and for the show used all 32 that Mojo Rental Southeast Europe has in stock for framing the edges of the stage – low profile fixtures were essential to preserve sightlines. He took all of the company’s CycFX 8s as well, used in the mirroring positions on the trusses above stage.

Also on the floor were the 24 LedPOINTES, again picked due to their compact size and minimal impact on sightlines.

All the time Sven had to be acutely aware of how the show would look live as well as later on thousands of smartphones and subsequent SoMe channels.

The 16 PAINTES were his key lighting, rigged – together with the Spiiders – on four trusses further out from the video cube. These were ideal positions for lighting the band and Jozinović, and for the Spiiders to bathe the audience in rich and sumptuous colours.

For him, Spiiders are still a great choice of LED wash. “The colours, zoom, calibration, etc. are currently still unmatched!” he noted. In addition to lighting the fans, he used Spiiders for additional beam effects, working in conjunction with the GigaPointes.

Sven admits that two years ago, he was initially a little sceptical about how well PAINTES would work, but after a demo and using them a few times, they have also become a frequent pick for key lighting. He thinks that the shutters and gobos are excellent and that “they are really amazing fixtures.”

The general aesthetic goal for these shows was to create something original and memorable. “It needed to be grand and spectacular, but not tacky or pompous,” he explained, talking creatively.

Sven extended thanks to the whole Mojo Rental Southeast Europe team for helping make this happen in such a pressurised time window, and especially to his lighting crew chief, Sven Grbec “Maci”, who perfectly coordinated prepping all the Robe kit.

In addition to these Robe lights, some strobes, 2-Lites, and around 30,000 LED bracelets (over the two nights) were also programmed via Sven’s lighting console, further boosting the immersive audience visual experience.

Photo: Mario Poje, Jurica Cvitanic & Sven Kucinic.

The post First Robe GigaPointes rock southeastern Europe at Jakov Jozinović Zagreb shows appeared first on A1 Lighting Magazine.

Located in Surfers Paradise and one of Australia’s leading arts destinations, the 17-hectare HOTA precinct caters to everything from theatre, dance, opera, comedy, and live music to children’s shows, cinema, and visual arts. Surrounded by parklands and a lake, it is a thriving cultural hub where art, entertainment, culture and lifestyle meet.

An investment in the future

As part of its ongoing commitment to technical excellence, HOTA selected 16 Elation Paragon M profile luminaires and 16 Proteus Rayzor 760 wash/effects fixtures to replace every moving light in its main theatre rig. The fixtures were supplied by ULA Group, Elation’s Australian distribution partner, with procurement facilitated by audio-visual production company Krank’d Productions. The project was led by Luke Farrow, Head of Lighting at HOTA, who also oversaw the lighting design for the upgrade. Installation was completed in December 2025.

For HOTA Precinct General Manager Chris Dignan, the upgrade represents an investment not only in technology but in the venue’s future ambitions. “As the demands of live performance continue to evolve in the industry, it is essential that our technical infrastructure evolves with them,” he stated. “This upgrade gives HOTA a future-ready lighting solution that meets the expectations of today’s world-class touring productions, while supporting our long-term ambition to attract bigger, more ambitious shows and continue lifting the bar for what we deliver on the Gold Coast.”

Meeting the demands of modern productions

HOTA’s aging lighting system had reached the point where its discharge-based spot fixtures and older LED wash luminaires could no longer match the output and performance expected by contemporary touring productions. Rather than supplement the existing inventory, HOTA chose to replace its entire moving light system, ensuring the venue would remain technically competitive for years to come. Following a demo and fixture shootout, the Paragon M and Proteus Rayzor 760 emerged as the preferred solution.

Greater output and creative flexibility

The new lighting system has significantly enhanced both the output and versatility of HOTA’s theatre rig. The Paragon M fixtures deliver high-output beam, gobo, and framing capabilities that provide greater precision and visual impact across a wide range of productions. Complementing them, the Proteus Rayzor 760 fixtures combine bright, high-qualitywash coverage with advanced pixel-mapping and effects capabilities, making them particularly valuable for live music and contemporary performance. Together, the two fixtures provide a flexible platform that adapts to everything from dramatic theatre and opera to high-energy concert performances.

According to Head of Lighting Luke Farrow, output was one of the most important considerations in the fixture selection process, and the Paragon M delivered exactly the level of punch they were looking for. “Its brightness and beam quality have significantly enhanced the visual impact of our productions, ensuring the rig can compete with the increasingly powerful lighting packages that touring shows bring into the venue.”

Beyond its output, the Paragon M’s color quality was another standout feature. “We found the fixture delivered excellent color rendering and consistency, providing greater creative flexibility for designers.”

Elation’s award-winning flagship luminaire series, Paragon is available in S, M, or LT models, all with IP54 ratings. The platform integrates multiple advanced systems, including Elation’s TruTone variable CRI technology, an interchangeable lens system (Profile, Fresnel Wash, PC Beam), and more. At HOTA, the addition of Fresnel lenses further extends their functionality, allowing the fixtures to function as high-quality wash lights when required.

“The ability to utilize interchangeable lens options was a major advantage,” says Farrow, “allowing the fixtures to be adapted for different applications without compromising performance. This versatility was a key factor in selecting the Paragon M as the cornerstone of our upgraded lighting rig.”

A versatile system for diverse programming

The installation includes sixteen Paragon M fixtures, with eight located in the overhead rig and eight positioned across the front-of-house lighting bridges. The overhead fixtures deliver powerful beam and gobo effects across the stage, while the bridge-mounted units provide flexible key lighting and multiple specials to accommodate the venue’s varied programming.

Complementing the profiles are sixteen Proteus Rayzor 760 IP65-rated wash/effects fixtures. Their SparkLED background twinkle technology adds an engaging visual layer for concerts and live events, while their output and zoom range enable them to deliver a bright, even wash across the performance space. Together, the two fixture types create a highly adaptable lighting system capable of meeting the demands of everything from theatrical productions to contemporary live music performances.

Supporting the venue’s house lighting infrastructure are two Netron EN12i Ethernet-to-DMX gateways paired with BS10 button panels from Obsidian Control Systems, providing intuitive control and reliable distribution for the house lighting system.

A collaborative project

Installation was completed by HOTA’s lighting department under the leadership of Head of Lighting Luke Farrow, alongside Marcus du Toit (Technical Operations Manager) and Thomas Connolly (Director, Technical and Production).

Throughout the project, ULA Group provided technical guidance and strategic support. “ULA Group was an invaluable partner throughout the project,” said Farrow. “Rod Marshall provided significant support during the process, helping us assess the available options and identify the best solution for the venue’s needs.”

Beyond the technical aspects, Marshall also played an important role in articulating and presenting the long-term vision for HOTA’s lighting infrastructure. His expertise and industry knowledge were instrumental in building a strong case for investment, ensuring the final solution would not only address immediate requirements but also support the venue’s future growth and evolving production demands.

With a fully modernized moving light rig built around Elation’s latest technology, HOTA is now equipped to support an even broader range of productions while meeting the technical expectations of today’s designers, artists, and touring companies.

The post Australia’s HOTA elevates theatre lighting with Elation Paragon and Proteus appeared first on A1 Lighting Magazine.

Lighting designer, Ben Sassoon, has lit many of them, but this is his first time using Ayrton Diablo fixtures, which he specified after seeing lighting designer, David Howe’s, use of them on the West End production of A Christmas Carol Goes Wrong. This is also his first time working with Sparks Theatrical Hire which supplied nine of the compact Ayrton units as the show’s workhorse fixtures. “Sparks’ customer service is outstanding,” says Ben. “They have an incredible passion for theatre, and Paul Anderson is amazing. They have been true collaborators for us. As a non-profit organisation we don’t operate the same way as other productions but they were so helpful – they literally made miracles happen!”

Sister Act is set in the 1970s, and focuses on Dolores, a club singer who goes into police hiding in a failing nunnery, disguised as a nun, which she saves by the power of music, reinvigorating its choir to sing her style of soul disco music, and thus saving the church from financial ruin. This gives the lighting designer plenty of scope to play with the juxtaposition between dingy environments within a penniless nunnery and the colourful fantasy world of disco.

“I needed a fixture that was versatile enough to do all these things, but I didn’t have a lot of space or weight available to me,” says Ben. “The show has a lot of flying pieces, and the weight allowance on the bars was really quite tight, so I needed something that was small, lightweight, but still punchy.

“The theatre’s trim height is relatively low at 6.5m, so the fixture needed to have a really big zoom too. So, when you need something small, lightweight, bright and punchy with a big zoom, I think there’s really only one choice, which is Diablo. These things are amazing. You can literally carry them with one hand!”

Ben rigged seven Diablo over stage for back and high side light, keeping them close together to counter the lack of space, and two front of house for specials and general washes, and for ‘pulling out bits of scenery’.

“The show needed to move between many locations – the street, a club, the church – and moods, so I wanted to have the ability to go from really dingy moments when we first see the impoverished church, to really bright, poppy looks full of saturated colour for the disco fantasy moments,” he says. “To be able to show that big disparity was definitely key to the look I was trying to achieve.

“For the church, we kept to cools and gentle warms, and used the framing shutters on the over-stage Diablos to set the scene. We wanted to make it feel like you were in different locations without it looking repetitive, so being able to use the framing shutters to close in on different areas, make interior rooms and corridors, and really hone into specific areas was quite crucial.

“We also had a custom gobo of a gorgeous rose window made, through Sparks, to enhance the big stained glass rose window located at the back of the set. We put this in the upstage Diablo, which was rigged in a very tight space between two pieces of set, in a super wide focus and it filled the whole stage to give a nice shadowy, atmospheric effect. It was the only fixture that would fit in that space.”

For the disco fantasy moments Ben moved into ‘supersaturated mode’ to transform the vibe into true ‘70s vividness in the most dramatic way. “Diablo’s colours are great and still really bright, even when they’re saturated, which was extremely helpful,” says Ben. “We also used the front-of-house Diablos to project saturated colours onto a mirror ball, enhancing the effect on stage by using the prisms and dot gobos in the on-stage Diablo fixtures. The result was a massive area of light with all those little dots and cool beams across the set and auditorium, taking the mirrorball effect right out into the audience.”

Diablo’s speed was also essential part of Sasoon’s design: “With such a limited rig, the fixtures had to be able to jump between locations at great speed,” he explains. “For one song, Raise Your Voice, the action jumps between a series of quick-change locations in a montage as the nuns learn to sing – the hallway, the choir room, even in the shower – so it was crucial to be able to jump around all those places really quickly. With only nine fixtures, I didn’t have the luxury of a separate light for each location – just the same lights multi-tasking – so Diablo’s ability to make super-fast movements during the dark moments and come up in the right place was paramount.”

Diablo’s quiet operation, despite this being a musical, proved equally important for the quieter moments. “There’s a moment near the end of Act II where, in one of the fantasy dream sequences, the band suddenly stops and the whole stage goes silent, with Dolores in a solo, hard-edge spot from the Diablos. The audience is in close proximity to the fixtures, but you just can’t hear the Diablos at all: no loud fans, just silence, which is exactly what you want in those scenarios.

“The Diablos were definitely my workhorse, and I was very impressed with them. Many of the theatres I work in don’t have the best weight limits or space availability, so being able to pack loads on a bar is very helpful and not something you can do with many other fixtures. Diablo is definitely going to be the fixture I ask for in future.”

Paul Anderson, managing director of Sparks Theatrical Hire, comments: “We invested in Ayrton’s Diablos about four years ago, just as we were emerging from COVID, and they have proved to be very popular ever since. Their compact size is a big factor in their appeal with many of our clients, and what they pack into such a compact unit is staggering.”

Despite their small footprint, the Diablo fixtures deliver an extensive feature set including CMY colour mixing, a colour wheel, iris, shutters, seven rotating gobos, animation wheel, plus an exceptionally impressive zoom range. “I don’t know how they fit everything into such a small unit,” added Anderson “We are always topping up our Diablo stock levels, as we never quite seem to have enough.

“I was thrilled to be able to help Ben Sasoon with ‘Sister Act’ at the John McIntosh Arts Centre, supplying quite a large supplementary rig to complement what the theatre already owned. The lighting states Ben created were absolutely stunning, and I was very proud to play a small part in that.

“For me, it’s all about the relationship with designers, and I hope this is the start of a very fruitful one. The continued expansion of our Diablo inventory reflects growing customer demand for versatile, high-output fixtures capable of delivering premium performance in space-conscious applications.”

Ben was aided by associate lighting designer, Paul Evans, and production electrician, Robbie Bradshaw. “Paul and Robbie were essential to getting the show up and running in the limited amount of time we had available to us,” Sassoon says. “Their incredible support helped us achieve the impossible.”

Photo credit: © Ben Sassoon.

The post Ayrton Diablo takes to the nunnery for Centre Stage London’s Sister Act appeared first on A1 Lighting Magazine.

The contemporary glazed architectural masterpiece sits on the footprint of the previous 1976 theatre building (which replaced the original one built in 1934), providing a high-production-value performance environment and a cool 21^st-century counterpoint to the city’s historical Cathedral of St. John.

The new venue is a radiant modern entertainment and meeting hub, buzzing with energy and creativity in the heart of this picturesque city.

The Robe moving lights are divided between Theater aan de Parade’s two multi-purpose halls, the 920-seater Casino Hall and the Plein Hall, which accommodates 400 people.

The Robe product count breaks down to 23 T2 Profiles, 83 T1 Profiles, 11 T1 PC, 80 LEDBeam 350s, 3 TX1s, 12 CUETE Spots, 14 Tetra2s, which are used as cyc lighting, and 4 RoboSpot BaseStations with MotionCameras.

All of this was supplied via Robe’s Benelux distributor, Controllux, together with a number of other lights that completed the specification, plus control and networking infrastructure. Controllux’s project and sales lead Kuno van Velzen started work on this installation in 2022.

Theater aan de Parade stages over 300 performances annually from numerous visiting companies, plus an array of festival and business events, explained head of technical, Alphons Verhallen, who oversees a tech crew of 16.

The T1 and T2 Profiles were selected as the “best multispectral profile moving heads on the market,” commented Alphons.

Having a multispectral LED fixture at the core of the house lighting systems – as opposed to a white LED source – was a cornerstone of the lighting tender.

It is a frequent consideration for theatres and performance venues where perfect colour rendition and skin tones are vital. Robe’s additive colour mixing techniques ensure that these fixtures deliver the richest of saturated colours and the most delicate pastel shades, all with theatrical finesse and quality.

Highly flexible CCT control provides another layer of premium-quality whites that are key in lighting theatre, drama and dance pieces.

The T1 and T2 Profiles are located on the lighting bridges and over-stage bars in both halls. Seven of the T1 PCs are rigged on the Casino Hall portal bars and four on LX2 in the Plein Hall, where they are providing good wash capabilities, with the TX1s also used overhead in this space.

The LEDBeam 350s are multi-use fixtures and, among other things, replace six-bar moving PAR light effects in both halls. The Tetra2s are proving to be handy for cyc and effects lighting in the Plein Hall, especially for bands, concerts and music shows, together with the CUETE Spots, which are in this same location.

The RoboSpot systems are usually used with the T1 Profiles in either hall. They bring all the flexibility of a quicker setup, being able to position the operators backstage or offstage and enable the LD to choose which lights are used for spotting.

Alphons is very happy with the scenario and confident that the venue can offer its clients great value with this combination of technology.

He notes that some of the incoming companies are making full use of the lighting setup now on offer, while for some older touring shows still on the road with performances based on static and dimmed lightsources, the adaptation may take longer, but the process is definitely underway.

Technical planning for the new theatre originally started in 2018, and between then and now, the specs were modified slightly as new and more appropriate product choices came to the market. When the old building closed, Theater aan de Parade continued producing shows in a temporary venue – again with Robe products in the rig – while the construction was completed.

Alphons, who took up the technical management position for the new theatre to open its doors at the end of 2024, is delighted with the results so far. Apart from all the obvious advantages, the all-LED stage lighting is saving considerably on the previous operational power requirements.

Robe is a brand Alphons has been more familiar with since visiting the 2019 Prague Quadrennial, where Robe lit one of the main centrepieces, “Blue Hour” by Romain Tardy.

Key members of the tech crew have also visited the Robe factory in Valašské Meziříčí, and Alphons highlights the importance of a strong working relationship both with the brand and the local distributor.

Controllux also coordinated the installation of the lighting systems and their related control network.

Photo credit: Kuno van Velzen.

The post Theater aan de Parade reenergises with Robe appeared first on A1 Lighting Magazine.

To bring the ambitious production to life, the lighting team at Concept K, led by French lighting, set, and multimedia designer Frédéric “Aldo” Fayard, collaborated closely with Artistic Director Stéphane Thiodat of SC Production. The event used an extensive Elation lighting package supplied by Novelty/Dushow Group, including 155 Proteus Maximus, 78 Proteus Hybrid, and 160 Sōl I Blinder fixtures.

Concept K was responsible for the lighting design, setup, and show programming, including lasers and fountains. The company had previously worked on the DGSN’s 69th anniversary celebration in El Jadida and was again entrusted with helping elevate the annual event.

“The first challenge was simply the scale,” explains Frédéric “Aldo” Fayard, founder and lead designer at Concept K. “We had to illuminate an area equivalent to two football fields filled with people, vehicles, horses, and military equipment. At the same time, we needed to provide sufficient brightness for the thousands of VIP guests and meet the requirements of the broadcast team and their cameras. It was essential to highlight and enhance the police forces during this important 70th anniversary celebration.”

The production site featured one huge stage, six towers, and a large guest tent, all integrated into a lighting and effects system that supported a parade showcasing various DGSN squads, including different police forces, vehicles, mounted units, and canine teams.

Beyond the technical requirements, Thiodat sought to turn the military parade into a spectacular show. To achieve this, Concept K worked closely with the artistic director, who outlined the sequences requested by the Colonel overseeing the event.

“During the creative process, the concept evolved and we adapted accordingly,” Aldo commented. “As always, we had to work within budget restrictions and, thanks to our long-lasting collaboration with Stéphane, the process was very smooth and efficient.”

To support the creative vision, Concept K expanded upon the original scenic design, using the entire structure as a platform for lighting and laser integration. Fountain effects were also incorporated into the setup, making weatherproof fixtures a necessity. Because the event was staged outdoors on open ground adjacent to the ocean, environmental conditions posed additional challenges, including dust and moisture exposure.

“We needed fixtures that were completely dust-tight and waterproof,” Aldo explains. “For key and side lighting, we were looking for a very powerful fixture with narrow zoom capable of covering long distances. Our conditions were demanding because the performance space covered approximately two football pitches. At the same time, for backlighting across the expansive performance area, we required a very wide beam angle to cover as much surface area as possible with a limited number of fixtures.”

The Proteus Maximus met all of those requirements while providing the consistency and availability needed for a deployment of more than 150 fixtures. Its competitive rental cost further strengthened its position as the ideal solution for the project. “Although it’s not the newest fixture on the market, it remains highly competitive compared to many more recent products,” Aldo said of the proven LED profile moving head.

The Proteus Hybrid fixtures, Elation’s groundbreaking weatherproof moving head in the Proteus series, complemented the design by providing versatile beam and spot effects throughout the production. “We’ve worked with the Proteus Hybrid many times before,” Aldo says. “Its IP65 rating and true hybrid functionality were its key criteria. There are very few fixtures capable of delivering both beam and spot performance while also offering the reliability needed for outdoor events.”

Concept K was among the first to use the Sōl I Blinder, thanks to Dushow’s early investment in France, and has been a fan of the multi-use blinder and effect light ever since. Some 160 Sōl I Blinders were used throughout the space for visual accents, rhythm cues, color washes, and dynamic backlighting.

“It’s lightweight, easy to rig, efficient, RGBLAW, offers a wide beam angle, carries an IP65 rating, and delivers exceptional value,” Aldo commented. “We used it for backlighting, effects, color rendering of each sequence, and to reinforce the rhythm of the show. The Sōl I is a true multitool—we love it.”

The event was successfully delivered to thousands of attendees and broadcast audiences, earning praise for its impact and contemporary show design.

“The event went very well,” Aldo concludes. “A huge thank you to Stéphane Thiodat for his trust on this very special project, and many thanks as well to Delight Event Management. We were also very happy to work with the Novelty / Dushow Group team, who provided full support from project preparation through on-site execution. A good result is always the outcome of a collective effort, and that was certainly the case here.”

Project Team

Concept K

• Frédéric “Aldo” Fayard
• Théo Broche Cannone
• Kelian Sevrée
• Paul Simon
• Santi Fernandez

Artistic Director

• Stéphane Thiodat

Production

• Delight Event Management

Photo courtesy of Concept K. 

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Lighting Thespians meant finding a world somewhere between Ancient Greece, Saturday morning cartoons and a musical comedy that absolutely must keep moving.

As Mischief continues to expand beyond its best-known Goes Wrong titles, Thespians represents an important new chapter: a fresh, licensable musical comedy with the potential to have a life beyond its first production. Written by Jonathan Sayer and Ed Zanders, and co-produced by Mercury Theatre Colchester, HOME Manchester and JPT Productions, the show takes audiences to Ancient Greece for a deadly prayer contest, told with Mischief’s unmistakable comic energy.

For Lighting Designer David Howe, the challenge was to create a world that felt ambitious, theatrical and full of colour, while remaining practical enough to tour.

“Lighting Thespians was about creating a bright, warm, slightly ridiculous world where the audience immediately understood the tone and wanted to be part of it,” says Howe. “The design was never about making something grand for the sake of it. It was about supporting the storytelling, the music and the comedy.”

Director Robyn Grant and Designer Jasmine Swan established a visual language that deliberately avoided museum-piece Ancient Greece. Instead, the world of the production sits somewhere between myth, musical theatre and cartoon.

“Robyn and Jasmine had a very clear visual world in mind,” Howe explains. “It was a playful blend of Disney’s Hercules and The Flintstones, which immediately gave me permission to think in bold, graphic terms. I wanted the colour palette to move from warm Mediterranean daylight, sun-baked stone, terracotta and sunset tones into bolder musical and comic moments. The Grecian sky backdrop became central to that world, helping the lighting shift between daylight, sunset and theatrical night, with strong backlight at times to accentuate the show’s bigger ‘hero’ moments, while keeping everything inside its bright, cartoon Ancient Greece.”

A key part of Howe’s approach was not to “light the jokes”, but to make sure the world of the show remained clear, inviting and alive. As a musical, the production moves constantly across the set, so the lighting had to create spaces, environments and tone for each scene and song, while keeping the performers connected to the audience. With the budget unable to sustain followspots, precision became essential: the design relies on a detailed network of specials, meaning reliable equipment and accurate positioning were vital from the outset.

“I don’t think comedy wants to be lit with a wink,” he says. “The lighting still has to believe in the world. If the audience feel comfortable, included and able to read the actors’ faces clearly, then the comedy has the best chance of landing. The danger is over-signalling the joke.”

The budget was tight, so every fixture had to work hard. Howe worked with White Light to create a practical touring rig that could still deliver scale, colour and flexibility from venue to venue. “This was not a case of throwing a large rig at the problem,” says Howe. “We had to be disciplined about what toured, what could be picked up from each venue, and which units genuinely earned their place. Every moving light had to do several jobs: specials, texture, scenery, sky, and the occasional piece of theatrical mischief.”

The production made use of a very small touring package alongside house equipment, including the Mercury Theatre Colchester’s upgraded LED rig and existing tungsten fixtures. This allowed the design to feel richer than the equipment list might suggest, while still remaining adaptable.

“White Light’s role was not just supplying the fixtures,” Howe continues. “They understood the brief and supported what we were trying to achieve. The useful conversations were around making the package robust enough to tour, simple enough to re-create quickly, and flexible enough to cope with different venues. On a show like this, the success is often in the unglamorous details – data, power, cable runs, sensible fixture choices and knowing what can be achieved repeatedly without making each Monday feel like starting again.”

Howe drew on the following fixtures: ETC ColorSource Profiles, High End Systems SolaFrame Profiles and Chroma-Q Color Force battens, each chosen for their ability to serve multiple purposes across the production. They played a vital role in shaping the visual identity of the show, from detailed key lighting to colour, texture and the atmospheric illumination of the Grecian sky backdrop.

The design was programmed by Freddy Sherwood, who has also taken on the role of Touring Production Electrician and weekly re-lighter, giving the production valuable continuity as it moves between venues. “Freddy understands the tone of the piece -the pace, the musicality, the comedy and the warmth,” says Howe. “That makes a real difference when the show has to be re-created quickly each week. It is not just about putting lights in roughly the right places; it is about protecting the spirit of the design.”

As with any tour, each week brings a different venue, with front-of-house positions, sightlines and available equipment varying slightly from building to building. The touring version therefore has to be robust without becoming rigid. The aim is always to protect the character of the show – the colour, warmth, pace and sense of fun – while allowing Freddy and the touring team enough flexibility to make it work properly in each space.

Reflecting on the project, Howe says: “I’m proud that the show feels bigger than the equipment list. That’s always the exciting challenge – when the audience hopefully see a bright, confident, theatrical world, rather than the compromises that made it necessary.”

The post White Light powers Thespians appeared first on A1 Lighting Magazine.

Robert Juliat has recently completed the installation of three of its new Morgane LED followspots at the Moulin Rouge. This upgrade is a new step in the collaboration between the French manufacturer and the world-famous cabaret of Paris. More compact, more comfortable for operators, and more powerful, these new 825W LED Morgane followspots meet the technical and artistic demands of a venue where precision, consistency, and lighting quality are essential to every performance.

Féerie, daily excellence in live performance

Playing continuously at the Moulin Rouge for two decades, the revue Féerie takes audiences through the history of the house via a grand spectacle which features nearly sixty performers, a thousand costumes, sumptuous sets, and the legendary French Cancan.

With two performances every evening, 365 days a year, Féerie demands absolute uniformity and technical reliability from its followspots, with perfect consistency and flawless rendering of the light required to light all the principal roles from beginning to end.

Preserving the original lighting signature

The original lighting design for the show was created by Christian Bréan, whose aesthetic sense and precision shaped the visual identity of Féerie. Jean-Jacques Clerico, President of the renowned cabaret which has been owned by his family for three generations, is diligent in preserving the soul of the revue, carefully balancing authenticity and modernity. He pays close attention to every detail to provide the most beautiful setting and the finest show every night, meeting the expectations of the audience.

Eric Legrand, Head of the Lighting Department and Technical Director of the venue, and Philippe Guitton, Associate Lighting Designer, ensure the continuity of this legacy. As guardians of this signature style, they work to enhance the performers while respecting the work originally initiated by Christian Bréan.

The new Morgane followspots are installed on the technical bridge, suspended like their predecessors from overhead truss positions from where they cover distances ranging from 15m to 30m from the performers. The uniformity between the three followspots is perfect—a crucial element in preserving the visual coherence of the show – and something which can be guaranteed by the precision engineering of Robert Juliat products.

Technology and human commitment

As a manufacturer, Robert Juliat designs its lighting fixtures to meet the highest standards of live performance. But technological performance only has meaning if it is matched by the same level of commitment from the teams who operate them.

“The CRI and spectrum of the new followspots meet our expectations well,” comments Philippe Guitton. “The motorized iris on the new Morgane allows operators to follow stage movements smoothly and with great precision. However, we do not use the remote control of this function because we strongly believe in preserving the autonomy of the followspot operators and respecting their personal touch. We create live performances on stage and want to maintain this principle with our technicians: we do not want to remove the intention behind each operator’s actions. On the contrary, we want to involve them fully in their work to ensure a consistent show quality from one night to the next,” he explains.

Through this project, Robert Juliat reaffirms its commitment to its major tenets alongside a major Parisian stage, in continuing to develop lighting solutions that meet today’s expectations while supporting the human and artistic dimension that lies at the heart of live performance.

Image credit: ©Sandie Bertrand.

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The 70^th edition of the world’s best-known international pop extravaganza was organised by the European Broadcasting Union (EBU), together with the host broadcaster, which this year was Austria’s Österreichischer Rundfunk (ORF).

A stunning production lighting design, featuring nearly 550 Robe luminaires, was created by Tim Routledge and his team, working on their third ESC event, and collaborating closely with set, video and production designer Florian Wieder to present a vibrant, flexible and visually impactful environment.

This had to work for the needs and imagination of all 35 delegations, for audiences catching the excitement first-hand right there in the Stadthalle, and for the millions from around the world tuning in on various live streamed and broadcasted channels to experience the event unfolding.

Prominent on the lighting rig were 190 of Robe’s just-launched GigaPointe laser-source multifunctional moving light, 98 WTF!s – IP rated LED strobe-wash-blinder fixtures – and 25 Robe HolyPATT vintage-style LED ‘scenic’ luminaires.

In addition to these, Tim’s general lighting rig included 182 Robe SVB1 multisource LED wash beams, which he also used on last year’s event in Basel, Switzerland, and have since become a firm favourite.

He also chose 64 Robe iFORTES and iFORTE LTXs – fitted with the HCF (High Colour Fidelity) engines – for all the key lighting and specials on the main stage and in the Green Room, this year located in the arena opposite the stage along the other ‘short-end’ side of the venue.

The impressive architecture of the performance space was based on curves, spheres and understated elegance juxtaposed with elements of fun and quirkiness – in the true spirit of Eurovision. It offered a technically smart universe of possibilities for all performing there.

A large, sweeping ‘signature’ passerelle feature with video floor started at ground level stage left and looped around the middle of the room in front of the stage, curving upwards at stage right in a giant rollercoaster-style loop, snaking around to finish high up in the roof stage left.

A portrait-oriented central LED screen curved seamlessly from above into the stage floor below and extended into a central thrust that traversed the arena floor, splitting into a double staircase at the other side, ascending to the Green Room.

All of this brought a beautiful flow and harmony to the scene for lighting and playback video, which seamlessly combined with the other technical disciplines and worked brilliantly as a piece of televisual art.

The central screen was framed either side by seven columns of moving lights, bringing an epic and breathtaking cinematic feel to the entire space and giving clear sight lines from all around the arena.

Tim’s highly talented team included his associate lighting designers Morgan Evans and James Scott; moving light programmers Alex Mildenhall and Martin Higgins; key light programmer Marc Nicholson; overnight programmers Olly Martin and Manfred Nikitzer; follow spot caller Louisa Smurthwaite and playback video producer Sam Lisher and team. His gaffer and crew chief was Keith Duncan.

All lighting equipment for the event was supplied by rental company Neg Earth out of the UK, with whom Tim also worked on last year’s event and on his first ESC as lighting designer in Liverpool, UK, in 2023.

Tim was delighted to be able to use GigaPointes on this show and they became “headline fixtures” of the show.

The product was just launched at ISE in February and powered by a 350W white phosphor laser source engine, it is a hugely anticipated multifunctional effects fixture, and it was a real moment to have so many of them used on such a high-profile event, following a demo at the end of 2025.

In Vienna, they were positioned all around the space.

They were prominent along the top of the front sections of the passerelle and underslung below its elevated sections upstage. They were rigged around the central semi-circular trusses in the roof, right at the heart of the rig, and were on all four sides of the main stage at floor level.

GigaPointes were used extensively throughout all performances, especially for gobo and beam looks, with the SpectraBeam effect utilised a couple of times to create unique high-impact effects, most notably for San Marino, which comprised rainbow focused looks.

They also featured prominently in the flourishing ‘stage-ready’ sequence that cut in just after the postcard video sequence – in the upcoming country’s flag colours – for each contestant’s intro, accompanied by an orchestral stinger.

Morgan Evans commented, “They were excellent workhorses – we all loved them! Nice and bright, they worked hard, reliably and extremely well throughout the event in these multiple different positions. A highly versatile multi-use product.”

Tim echoed these comments, adding, “GigaPointes provided us with an aesthetic backbone,” revealing that he was so pleased with their performance that he’s specified them for Take That’s summer 2026 “Circus” stadium tour.

The 98 Robe WTF!s were the main strobe unit on the lighting design, deployed on the roof trusses running the length of the room either side, and on the large central ‘crown’ semi-circular trusses – the innermost ring – above the stage, alternated with GigaPointes and other fixtures.

Tim already had some experience of using a much smaller quantity of WTF!s on popular UK rapper Dave’s most recent tour, so he knew their potential and was very happy to have them on ESC.

“I love their directionality, and we fully used all the sets of LED chips and the zoning for various effects,” he explained, adding that they appreciated being able to pan and tilt the fixtures, which, together with the zoom, proved extremely handy at times for reducing glare into the cameras.

Conversely, they utilised zoom and LED zoning to create cool colour temperature effects, and the ones along the audience trusses helped with washing the arena.

“Lots of options for TV with these,” noted Tim, who has also spec’d these for another upcoming tour.

Eurovision is one of the most-watched/highest-rated live music broadcast shows in the world, and as always with any camera-based show, key lighting is paramount!

Robe’s iFORTE with its high CRI and excellent quality of light has been a white light go-to for Tim since the product was launched, and here they were rigged strategically in all the main key lighting positions for the main stage and Green Room.

iFORTES were positioned all around the arena on the periphery trusses and the two outer ring trusses above the stage – their power was ideal for the long throws from these positions.

Twelve of the 64 x iFORTES were paired with different remote follow systems, including three Robe RoboSpots.

These iFORTES were used for all the main stage key lighting and were critical to every shot, “They are one of the best – I absolutely would not be without iFORTES on a show like this,” he confirmed.

Eurovision is all about making a diverse range of stars from many cultures shimmer with luminance and magic as they deliver their songs, and he used Robe’s SVB1 fixture on the 2025 ESC event in Basel, Switzerland, and really loved them.

So much so that they were included on the main rig for this year – and in the meantime, Neg Earth had also made a substantial investment in SVB1 luminaires that was delivered by Robe UK.

The fixtures were spread out around three of the four large circular roof trusses and helped emphasise the structure. They created the base looks for a host of versatile twinkling kinetic effects, which could be bold or subtle depending on the artist.

The Green Room design stood out this year for its retro, cosy, classic Viennese-style coffee house concept, and the 25 x HolyPATTS were beyond the perfect movie prop for framing this, providing a highly stylised spherical ‘tungsten’ glow, visible in every wide and medium-wide shot.

The Vienna Radio Symphony Orchestra was positioned in the Green Room for the grand finale, and they were also dressed with HolyPATTS behind their risers.

Tim and the team applied the highly accurate tungsten emulation with style and panache to bring a highly theatrical feel to the space.

One of the major technical and creative challenges this year was the decision by ORF to shoot the shows – which also included two televised semi-finals to narrow down the field to the 25 finalists – on large chip film cameras, an ESC event first.

For Tim and the lighting department, this meant that more depth, definition and detail was visible, so they had considerably more latitude to play with lighting adjustments and fine-tuning affecting how elements like strobes and pyro would look on camera – harder, softer, etc. “It enabled us to add more texture and finesse to every performance,” he stated, and this really showed on the final broadcast.

Linked to this, the LiveEdit camera software used to cut the broadcast mix could also pre-select different colour LUTs that would run on all cameras for the different artists, so more stylised lighting looks and treatments could be developed and optimised.

Tim described this process as “very satisfying, as it effectively gave us more chance to paint with light,” which also made perfect key lighting – and the role of those iFORTES – even more critical!

Eurovision 2026 was presented by Victoria Swarovski and Michael Ostrowski, plus Green Room host Emily Busvine and the winner was Bulgaria, whose DARA gave a stonking performance of her catchy Balkans banger “Bangaranga”, heading off Israel’s Noam Bettan, who came second with “Michelle” and Romania’s third-placed Alexandra Căpitănescu with her song, “Choke Me”.

Photo by ORF Cloud.

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