The RSC attracts audiences and artists from around the world to its three theatres (Royal Shakespeare Theatre, Swan Theatre and Courtyard Theatre) in Stratford-upon-Avon. Currently, King Lear and The Seagull are performed in repertoire at the 1500 seat Courtyard Theatre. The two productions make up the last of the RSC's Complete Works season after which the productions will embark on a world tour that includes stops in Singapore, New Zealand, Australia and the East and West Coasts of America before returning to the UK. The remainder of the tour will be played over an eight week run in London at a venue yet to be confirmed.
The Martin fixtures were supplied by White Light, via account handler Roger Hennigan who worked with Simon Spencer, senior lighting technician at the RSC. "Jessica Allan at Martin and Roger really pulled out all the stops to ensure we got the fixtures in time for the production," says Spencer.
LD Neil Austin first saw and used Martin MAC TW1 Tungsten wash lights at the National Theatre's Cottesloe and Olivier Theatres in London, the latter in his design for Man of Mode which is still running. Austin was impressed by their output and mechanics and comments that the fixture's internal modularity makes it very easy to maintain and is subsequently popular with the crews and technicians.
Austin comments that the Tungsten wash lights have always been a favourite tool for theatre designers. "The TW1's 16 bit colour mixing is brilliant and the dichroics have been really carefully chosen to give you any colour - and I mean any colour," he says. "The mechanical repeatability of the functions and colours is excellent, and I like the tight beam. The fixtures are rigged 13m away from the stage at the Courtyard, and the beam is still really tight. And it goes wide enough as well.
"You can also create a perfect blue with it using the dimmer shutter, ensuring the colour temperature remains constant - even at very low levels - by using the mechanical dimmer, which is ideal. All bases are covered with these fixtures." He adds that the unit's silent operation is also vital for any type of theatre production.
Lighting for King Lear and The Seagull RSC run and tour is being operated by Matt Peel using a Strand 500 series console. The director is Trevor Nunn and the set is designed by Christopher Oram.
(Jim Evans)
