White Light supports Jo Cox tribute
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The project was entitled Hear the People Sing and celebrated the values that Jo stood for: togetherness, collaboration, comradeship and equality. The performances of Les Misérables were made possible by Cameron Mackintosh generously granting the rights for free. The creative team included renowned director Nick Evans, producer Donna Munday, musical director Steve Moss and choreographer Julie Hobday. The lighting designer was Tim van ’t Hof, who comments: “I was asked in March to come on board and I didn’t think twice about saying yes! It sounded like a really exciting project, one that I was honoured to be part of, and all for a brilliant cause.”
Tim flew over from New York in April where he attended a week’s worth of workshops as the local cast were selected and put through their paces. Tim adds: “I had never actually seen a live performance of Les Misérables (something I probably shouldn’t admit!). However, it meant that I could approach the show from a completely fresh perspective; something that was ideal with the bespoke nature of this piece.”
Rather than have the performances take place in an existing theatre, the company transformed the Oxfam Wastesaver warehouse in Batley into a traverse theatrical venue; with the Oxfam charity partnering the project. Tim explains: “Initially we were planning to perform in a renovated mill, but for several reasons, we had to transfer this to a venue three times the size only a few weeks before the load-in! That said, the most special thing was that we were in the heart of Jo’s town."
From a production perspective, Tim had to design a show for an ensemble of 60 people, with a 14-strong West End orchestra, on a stage of 25m wide and 10m deep and audience members on both sides.
He explains: "I was lucky that WL so generously jumped in and proved to be extremely helpful by giving me access to their extensive inventory. A key idea in my design was big stage filling directional lighting to transform the space and give dimension to our world of Les Misérables. That said, I always wanted to have the adaptability to focus on the individual to highlight the more human elements of a show about revolution.”
As a result, Tim positioned 7m high lighting towers on the four corners of the stage, on which sat six ETC Source Four Pars with Scrollers. He explains: "I needed output, full stage coverage and the feel of light coming from one direction.” He used a range of Claypaky Sharpy Washes, VL1000 ASs and Martin Quantum Washes to sculpt the scenery and shape the more intimate moments. There were also four followspots to highlight individuals in bigger ensemble scenes. He adds: “Despite us literally having only a few days to set up in this empty warehouse space, we wanted to ensure that this had the same feel and quality as a West End production – which we all knew would be a fitting tribute to Jo’s memory.”
Tim concludes: “This was a really special project to be involved with. It was a fantastic way to celebrate Jo Cox’s life, in her hometown, by recreating a piece of work that was close to her heart. I want to thank the team I worked with for being so supportive along with WL who were an incredible help throughout.”
(Jim Evans)
