Illuminati Lighting for the theatre, visual arts and architecture

Illuminati has been creating innovative lighting, special effects and technology, for a lot of years now. Theatre, opera and dance is deep in our DNA: over 350 productions to our credit in rep and regional theatre, the West End, and festivals worldwide over thirty years - but we bring the same zest for life, originality of approach and sheer breathtaking talent to anyone that needs it. This includes lighting for buildings, art galleries, monuments, hairdressing salons, churches, offices or outdoor environments. What you get from Dorian is always a lot more than just having a few lights pointed at the stage, or a building, or a hairdressing customer, or a restaurant table or at an altar. Its a way you can communicate at the very finest level. Its a way to help create the mood, the feel, the emotion, the message that you want. Its a way of accessing thirty years of lighting art. Its a way to be better. Just better.

Dorian has been lighting designer at a number of regional theatres and for several years designed a wide range of productions at London's Mermaid Theatre. Including relights for major tours and commercial presentations, he has a lifetime achievement of over 300 production designs to his credit.

He is often available - many other commitments permitting - to design the lighting for your productions. For more info and a CV click here . For his philosophy and process of lighting read this.

The Rose Theatre

We were asked to create a lighting scheme which would show every individual stone and block of a set of archeological remains of The Rose ( see link opposite) Shakespeare's original bankside playhouse in Southwark while they were buried under four feet of wet sand, three inches of concrete and a foot of still water. A tall order you might think but not for Illuminati. Illuminati specified and had made the largest pieces of electroluminescent sheet in the world, each sheet measuring a massive 3.4 metres long by 1 metre wide. We arranged additional waterproofing for the pieces and installed them carefully under the water, painting and masking them out to duplicate the exact position of the remains - using satellite technology to get them accurate to within .25 of a milimetre. We then built a huge control system with show control, dimmers, and additional lighting and in conjunction with Bill Dudleys's "Pepper's Ghost" projections created a spectacular exhibition piece depicting the history of the building

More info on the Rose

"Inside MacBeth" at the Mercury Theatre Colchester

Directed by the Catalan Direcor Yolanda Garcia-Romerez, this reworking of Shakespeare's piece required something very special in the way of presentation. Illuminati's Chief Lighting Designer, Dorian Kelly, decided that nothing resembling a standard theatre lighting rig would do, using instead a wide range of non-standard lighting sources, including anglepoises, foil refelectors animated by electric fans, fibre optic light sources, sunbeds etc. the result was unworldly, spookily eyrie, and quite disconcering - but absolutely perfect for the job in hand. Its all part of our philosophy.

The Warp.

At the Depford Albany. 37 hours long, three short breaks, constant lighting changes. All done on the hoof. Ken Campbell. Need I say more? Ken can though...: "Cracking lights, Dorian, cracking!"

This startup business, set in an underground windowless cellar, was looking for an entire new American look. Their problem was that they needed true originality plus an on-street marketing scheme. We concepted the operation as a converted Hollywood movie studio, obtaining several redundant Mole-Richardson studio floods and other pieces of studio equipment, gutted them out and fitted them with modern cheaply replacable lamps. These, with barndoors and color filters, provided the general ambience, individual table lights being (in those days) state of the art par 36 downlights with replacable capsule lamps. These provided a tight spot in the middle of each table. Illuminati insisted that a beautifully cut crystal glass vase was placed in the exact centre of each table, containing a single red flower. The light that reflected and was diffused from this gave the table - and the people sitting at it -an incredibly expensive and glamourous look, while at the same time turned the densely packed tables into intimate islands of light. Dimmers were provided with timers so that as evenings progressed, the light could be progressively dimmed and warmed. We also designed and made a 40' New York skyline, each window of which was individually fitted with an optical fibre. This stood two feet away from a curved cyclorama, on which a wide variety of weather conditions were projected, including an animated aircraft with a Sloppy Joe banner and moving clouds. To cap it all we fitted twenty low cost monitor screens showing American imagery on four channels including some truly awful sitcoms and game shows, tourist footage etc. A powerpoint presentation was devised and made in-house showing the entire menu and other promotional materials featuring our own animated Sloppy Joe character, and this was initially shown on a 28" monitor at street level in a tiny shop window, later converting this to show on a BP screen. We also built a animated robot character which could be re-costumed seasonally. The restaurant did wonderful business in a town saturated with restaurants and has been running for many years.

see Picture

sloppyJoe1 sloppy people
Sloppy Joe's, Showing waiter call system disguised as NJ Turnpike sign, Top of Skyline in night mode and part of studio Grid from which the faux studio equipment was hung. Some very youthful customers on the opening night ( slightly foxed)
SuperJoeMan imagery by Illuminati
The Skyline
ken Campbell  
Ken Campbell : History of Comedy