Professional Lighting & Production - Summer 2019 | Page 27

Paule Constable is an acclaimed
U.K.-based lighting designer for
theatre, opera, and dance productions
around the world. She has won two
Tony Awards for Best Lighting Design
and been nominated an additional
four times. She has also won four
Olivier Awards and been nominated
an additional nine times, all for Best
Lighting.
Kevin Fraser has created lighting
designs for almost 500 professional
theatre and opera productions across
Canada throughout his nearly 40-year
career. He has designed several shows
for Mirvish Productions and Opera
Atelier in Toronto and at most regional
theatres across Canada. He has re-
ceived five Dora Mavor Moore Award
nominations and a Jessie Richardson
Award nomination.
Louise Guinand has been the lighting
designer for over 30 Shaw Festival
productions, as well as for the Globe
Theatre and Stratford Festival. She has
also done lighting designs for over
500 shows at the Grand Theatre, Royal
Manitoba Theatre Centre, Soulpepper,
Western Canada Theatre Centre, Na-
tional Arts Centre, and more. She has
won a Dora Mavor Moore Award and
been nominated for several more.
OUR PANELISTS
Martin Labrecque has done the
lighting design for more than a dozen
Cirque du Soleil productions, includ-
ing Rain, Kooza, Corteo, and Volta. He
has worked extensively in theatre, op-
era, and dance and has won or been
nominated for several of Quebec’s
Masques Awards.
Kevin Lamotte has created lighting
designs for most theatre, dance, and
opera companies across Canada. He is
currently the director of lighting design
for the Shaw Festival and also works
with the National Ballet of Canada,
Pacific Opera Victoria, and Toronto’s
Soulpepper Theatre Company. He has
won a Pauline McGibbon Award, and
either won or been nominated for a
Jessie Richardson Theatre Award, Dora
Mavor Moore Award, and other honours.
Guinand: The progress in LED colours is a welcome
addition to the tool kit. That, combined with advances in
automated lights, vastly expands the options. Initially, many of the
automated instruments were not ideal for theatre, especially in
quiet, intimate, or intense moments. The improvements through the
years have made them much more viable.
Labrecque: I’m playing a lot with products from Astera. I
find them very clever and very well made – IP 65, wireless
DMX, and a 20-hour battery. The all-in-one concept is very appeal-
ing to me. As for a game changer, I would say a very small company
Peter Mumford is an acclaimed Brit-
ish lighting designer for theatre, opera,
and dance. He has worked in theatre
since the late ‘60s and is an Olivier
Award and Knight of Illumination
Award winner. In recent years, he has
split his time between London and
New York, working on, among others,
The Ferryman, 42nd Street, My Name
Is Lucy Barton, and King Kong: Alive on
Broadway.
from France called Minuit-Une; they’re making this absolutely fan-
tastic product called IVL. It’s a laser-based lighting fixture and what
it does is amazing. I’m quite sure we’ll see a lot of those soon.
Lamotte: I often work in repertory situations and need to
find ways for a single light to do more. We recently pur-
chased 10 of High End’s SolaFrame Theatre units for the Festival
Theatre at the Shaw Festival. These units have an LED engine with
good CMY colour mixing and are absolutely quiet. We’re now able
to start placing moving lights closer to the audience.
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