Hailed by many as the theatrical event of its generation, Stephen Daldry’s multi-award winning National Theatre production of An Inspector Calls is a gripping and vivid adaptation of JB Priestley’s classic thriller. Having won numerous awards, including the Tony Award for Best Lighting Design, not to mention having played to over five million theatregoers, the show has now returned for a brand-new UK tour, with the previous one in 2022 being a record-breaking sell-out. Having lit the original production back in 1992, and all of its subsequent runs, Olivier and Tony Award-winning Lighting Designer Rick Fisher is once again part of the creative team and approached White Light (WL), a d&b solutions company, to supply his rig; with the company having worked on the show since its original West End debut in 1995.
An Inspector Calls tells the story of Inspector Goole who arrives unexpectedly at the prosperous Birling family home where they are hosting a dinner party. Yet their evening is soon shattered by his revelations into the death of a young woman; ones that shake the very foundations of their lives… Whilst the show has been touring often since its 1992 premiere, it actually had a life before this. Rick explains: “The first incarnation of this show took place in 1989 at the York Theatre Royal as part of their rep season. It was still in its infancy and was definitely developed further for The National’s production three years later; though the essence of the piece remained the same. The same could be said about my lighting design. Despite us now having worked on this piece for over thirty years, my design is still based on the 1992 production, which itself was built around the original rep rig for the Lyttleton Theatre. As such, when we return to the show every year or so, it’s a case of looking at how the advancements in technology can help enhance the look and feel of what we’re trying to achieve – essentially making sure it looks the best it’s ever been”.
When it comes to his design, there are three main side lighting positions which cover both the actors and the play’s action. Rick comments: “We have one position downstage of the proscenium arch, one upstage of the proscenium arch and then one further upstage from this. These positions were initially implemented due to the set design but we then realised, artistically, they created a very powerful look as well. We also light from above the Edwardian doll’s house and it’s important this has a cosy feel, to contrast the colder and somewhat alien ambience of when the actors are outside the house. Similarly, we also have to light the sky cloth as well as the rain curtain; both of which have very specific lighting specifications”.
Once again for this tour, Rick approached the Hire Team at WL to supply his lighting fixtures; with this rig being the most technologically advanced yet. He states: “Looking back at the show’s lighting over the past few years, we are slowly but surely bringing in more and more moving lights. For instance, with the overhead rig, this is made up entirely of Aryton Diablos. We wanted to be consistent with one unit that would work for all our needs – something that the Diablo does. Interestingly, we don’t use gobos or strobes and most of these moving lights don’t actually move! Instead they’re used as better functionality conventional lights that can be focused remotely. Similarly, by having more automated lights overhead, this has massively helped with the set-up of the show when it visits each venue. Rather than having to stop the technical fit-up for the overhead focus (which has happened in the past), this can all take place simultaneously given the fixtures can be controlled remotely.
Rick continues: “When it comes to lighting the sky cloth, the cloth itself is a beautifully hand-painted material, as opposed to something that’s printed; hence when you light it in certain ways, it can look incredibly different. For many years, we lit this using over 80 fresnels in a 6-7 colour wash and then mixed accordingly. Over time and various productions, this migrated down from 80 to 40 2K fresnels, before then changing again to about a dozen ETC Lustr 2s. Now is the first time it’s being lit by a selection of Diablos and looks the best it ever has in the show. Similarly, when it comes to the rain curtain, you could almost chart the history of lighting fixtures through what has lit this! We’ve moved from fresnels to Lekos to the original ETC Source Fours to PAR Battens and are now drawing on the GLP X4 Bars. Alongside the Diablos, these are the real workhorses of the rig and do a fantastic job”.
And whilst Rick’s aim on the show is to always “use the latest technology to ensure the show looks as good as possible”, that doesn’t mean the rig consists of entirely modern fixtures. He explains: “We still use the R&V Beam Light 500Ws which may now be venturing into the ‘classic fixture”realm! That said, these offer a particularly special kind of light; one that is used to highlight the actors’ faces when it comes to crucial moments of the story, hence why I call them ‘confessional lights’. We also use a Patt 243 for another strong ‘work light’ effect. Thankfully, alongside their state-of-the-art fixtures, WL also has an extensive archive range which means I can then achieve the exact looks and feels I require”.
Rick concludes: “An Inspector Calls has always been a very special piece and continues to have incredible resonance right to this very day. Whether it’s the audience of over 2,000 at Liverpool’s Empire Theatre or the fact we’re visiting more venues than ever, it’s a play that continues to speak to people and we have a great responsibility in helping create a night audiences won’t forget. For this tour, I’d like to say a huge thank you to Will Evans (my Associate Lighting Designer), Alex Hannah (my Touring Relighter and Electrician) and Michael Fox who programmes the show as well as developed some of the bespoke rigging for the lighting. I’d also like to say thanks to the team at WL who continue to support this show after thirty years and always work incredibly hard to provide something that fulfils our budgetary, artistic and logistical needs. They truly understand the show and what it needs, and that long-standing relationship is greatly valued”.
