The much-loved musical Oliver! has made a triumphant return to the West End at the Gielgud Theatre. With Simon Lipkin as Fagin, Shanay Holmes as Nancy, and Aaron Sidwell as Bill Sikes, this latest revival brings Charles Dickens’ iconic tale of young Oliver Twist to life once more. Cameron Mackintosh’s new production, directed and choreographed by Matthew Bourne, with co-direction by Jean-Pierre van der Spuy, showcases a lighting design by multi-award-winning Paule Constable and Ben Jacobs. To realise their creative vision, they turned to White Light – a d&b solutions company – to supply the show’s lighting rig.

Since its original West End premiere in 1960, Oliver! has seen numerous revivals, yet each iteration brings a fresh perspective. Paule Constable, having previously lit the 2009 Theatre Royal Drury Lane production, relished the opportunity to return. “I love the story of Oliver! and Dickens’ original book,” she shares. “For this production, I wanted to create a nostalgic atmosphere while making the lighting an integral part of the world on stage. Lez Brotherston’s set design means the lights are woven into the picture, framing this fragmented Dickensian landscape with modern technology. This contrast between old and new allows us to craft the right emotional depth. Light itself plays a role in the narrative – as Oliver is drawn into the darkness, the lighting helps tell his journey towards the light.”

A distinctive aspect of this production is its co-lighting design by Paule Constable and Ben Jacobs, a partnership that brought fresh energy to the process. Ben reflects on their collaboration: “This was the first time I co-designed a production with Paule. It’s not something that happens often in theatre, but working alongside someone of Paule’s calibre was an incredible experience. We were able to bounce ideas off each other in a way that constantly developed the design. Paule’s deep familiarity with the show complemented my fresh perspective – I hadn’t seen previous productions or the film adaptation. This allowed us to approach the lighting with a stripped-back aesthetic that creates a more intimate connection with the audience.”

Following its run at Chichester Festival Theatre, transferring the production to the Gielgud required careful redesign. With the West End venue’s smaller stage in mind, Paule and Ben sought versatile lighting solutions.

“We relied on the Martin Mac Ones, which were a revelation in this space – their compact size and lightweight design made them perfect,” Paule explains. “At Chichester, where we had a bit more room, we used them as footlights, and they were fantastic.”

The duo also utilised the ETC Halcyon Titanium and the Martin Mac Encore Performance, chosen for their painterly and nostalgic qualities, while the GLP X5 provided saturated tones that could cut through the rest of the design.

Interestingly, despite the dominance of modern lighting technology, traditional fixtures still played a vital role. “We loved using old-fashioned Par 64s and scrollers,” Paule reveals. “They helped us capture the analogue aesthetic that fits so beautifully within this Victorian world.” Ben adds, “Par cans and scrollers might be considered old technology, but for me, they are the backbone of the lighting design. They are in constant view of the audience, almost part of the scenery itself. That’s why we insisted on using Par 64s rather than a modern LED equivalent – nothing on the market quite replicates what scrollers can do.”

For Paule, lighting is about storytelling. “Lighting should never feel separate from the characters. It’s about dramaturgy, about emotion. Take Who Will Buy – this moment is about warmth, light, hope, and possibility, a world Oliver has never known before. We reflected that with tungsten tones to create that sense of magic and wonder.”

Having collaborated with White Light on numerous projects, Paule and Ben knew they were in good hands. “Working with the WL team was fantastic – they truly understand theatre designers and go the extra mile,” Ben states. “They were instrumental in helping us pick the right lighting equipment, particularly with their insight from Chichester.”

White Light’s Hire Business Development Manager, Stuart Porter, echoes the sentiment: “We’re delighted to have supplied the lighting rig for Oliver! and to have worked once again with Paule and Ben. Our relationship spans many years, and it’s been fantastic to support both the Chichester and West End productions.”

With its unforgettable score featuring Food Glorious Food, Consider Yourself, You’ve Got to Pick-a-Pocket or Two, I’d Do Anything, Oom Pah Pah, and As Long As He Needs Me, Oliver! remains one of the most beloved musicals of all time.

Photography by Ben Jacobs

The post Light! Glorious Light! appeared first on White Light.