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 ...

General Admission

This content is free to access as a registered user

Why register It's simple and free, and here is what you get:

  • Daily original news covering the latest in entertainment design and technology
  • Features on the latest industry trends
  • Insights from thought leaders in the industry
  • The ability to view both pay-per-view and free recorded sessions from our live events including Master Classes, LDI and Envision

Already registered? here.