White Light (WL) is proud to have supported the Watermill Theatre’s bold and atmospheric production of Jesus Christ Superstar, with lighting design by Rory Beaton. This reimagining of the iconic rock opera transformed the intimate Berkshire venue into a space of epic scale and spiritual resonance, thanks in no small part to a lighting design that was both technically ambitious and emotionally precise.

From the outset, Beaton’s vision was clear: to turn the Watermill into a derelict, sacred space—part concert hall, part gothic chapel—where a group of storytellers could gather, instruments in hand, to share a timeless tale. “We wanted the space to feel like it carried architectural weight,” he explains. “To be able to flip between a raw, church-like intimacy and a full-blown concert aesthetic.”

With limited physical space and minimal scenic elements, lighting became the primary storytelling tool. Beaton’s design used light to shift scale, sculpt mood, and guide the audience through the emotional arc of the show. “You can’t fly in massive set pieces at the Watermill,” he says. “So lighting had to do the heavy lifting; shaping the room, igniting the atmosphere, and telling the story.”

To achieve this, Beaton relied on a carefully curated rig that balanced power with subtlety. At its heart were 42 Martin Mac Ones which are compact, quiet, and impressively versatile. “They’re the perfect unit for a space this size,” he notes. “They take up almost no space or power, and they pack an immense punch.”

The rig also included Ayrton Diablo-S profiles, Martin Mac Auras, and a range of LED fixtures, all chosen for their ability to deliver visually rich, almost biblical imagery one moment, and high-energy concert looks the next. Hidden troughs of GLP Xbars and LED tape added depth and texture, while 88 hand-crafted DMX candles brought a human, tactile warmth to the stage.
WL’s long-term hire partnership with the Watermill was instrumental in realising this vision. “It would have been impossible to produce this show with this aesthetic without supplementing the existing stock,” Beaton says. “I’m so grateful to Adam, Stuart, and the entire WL team for helping us find the right kit, on budget and on time.”

The production also pushed the venue’s technical infrastructure to its limits. “We ran out of parameters on the desk,” Beaton laughs. “But WL stepped in to upgrade the system and make it all possible.”

WL’s Business Development Manager Stuart Porter comments: “At WL, we believe in creative partnership and technical excellence. This production exemplifies both. It’s a testament to what can be achieved when designers, technicians, and suppliers work together to tell powerful stories sustainably, and collaboratively.”

As Beaton reflects: “This show is a herculean effort from everyone involved. I wouldn’t have been able to do half of what I did without the brilliant team of freelancers, Watermill staff, and the unwavering support of White Light.”

LX Team Credits:
Rory Beaton – Lighting Designer
Nicola Crawford – Assistant Lighting Designer
Luca Panetta – Lighting Programmer
Ryan Tate – Production Electrician
Richard Lodge – DSM

Thom Townsend, Ruth Corris, Alex Hammond, Nick Flintoff, Lawrence Doyle and Neil Starke at the Watermill.