Shrek’s lighting design, by Tim Hatley’s Spamalot colleague Hugh Vanstone, gives the show a once-upon-a-time sheen, subtly supplemented by projections and LEDs coordinated by media associate Laura Frank. “Cue for cue, there’s very little of the lighting left from Seattle to New York,” says Vanstone. “Everything was revisited, sometimes again and again. This was not a conventional show, where you pick up a script and just do it. It kept on changing, not ripping up sheets and throwing them ...
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