Robe T1s light NTS Panopticon production
- Details
It follows the journey of 15-year-old Anais Hendricks, failed by most adults she has ever met, who ends up in the Panopticon, a young offenders institution. Inside its distinctive circular architecture amidst a regime of control and dehumanisation, residents develop intense bonds.
Wilkinson was asked to work on the show by Debbie Hannan, and decided to try out Robe’s T1 Profile moving light, a flexible and quality multi-functional LED luminaire which has been developed for theatre applications.
One of the challenges of lighting the piece was the imposing geometric set - a series of column-like flats that rotated to offer different structural formats - created by scenic designer Max Johns. These were also a projection surface for video material produced by Lewis den Hertog, providing critical locational information and dramatic digital backdrops.
Wilkinson’s starting point was ensuring that lighting and video worked as fluid dramatic partners in the piece. The six Robe T1 Profiles were all rigged on FOH booms.
The lights were used for key lighting and for shuttered sources picking out the action all over the stage. That was his basic requirement, but once the tech period commenced, he started using several additional T1 features that he’d not necessarily anticipated.
“Overall, I was really impressed with the T1s!” says Wilkinson, “I particularly loved the punchy tungsten style facilitated by the additive colour mixing, and the way the light brought a beautiful glow to the faces.” This was an effect he used consistently throughout on actress Anna Russell Martin who played Anais, the main protagonist.
The T1s were supplied to the production by Cambridge-based rental company CEG. Lighting for The Panopticon was programmed by Ben Terry and run on one of the National Theatre of Scotland’s EOS consoles.
(Jim Evans)
