Love it or hate it, the “sets” in Andrew Lloyd's Webber's musical, The Woman In White, are almost entirely digitally projected onto curved, rotating scenic elements. When the show opened in London's West End 18 months ago, designer William Dudley's use of projected scenery sparked a controversial debate about such a saturated digital environment (see “Victorian Secrets,” Entertainment Design, January 2005, at http://livedesignonline.com/theatre/show_business_victorian_secrets). Directed by ...

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