Ambersphere were proud to support the production by loaning Ayrton fixtures for the show, which was programmed and operated on grandMA3 and also featured Astera PixelBricks.
What did you like the most about lighting this performance?
Charlie: What I enjoyed most about lighting Guys and Dolls was creating a design that reflected my own style, while supporting the story. I wanted the lighting to feel bold, theatrical and cinematic, using strong colour, dynamic cueing, and carefully crafted transitions to make the lighting an active part of the storytelling, rather than just illuminating the stage.
I particularly enjoyed balancing high-energy musical numbers with more intimate moments, allowing the lighting to enhance both the spectacle and the emotion of the production. Working closely with the creative team to develop a distinctive visual language and then seeing it come to life in the Sherman Theatre made it one of the most rewarding and enjoyable designs I’ve created.
How many Astera PixelBricks were used, and how were they rigged?
Charlie: I used eight Astera PixelBricks, positioned evenly across the front edge of the stage. They were mounted on their floor stands and securely screwed into the stage floor. I used them as audience blinders and eye candy, helping to break the fourth wall and draw the audience further into the world of the show. They also became an integrated part of the lighting design, rather than simply acting as effects fixtures.
What made you specify PixelBricks / why were they the right choice for this show?
Charlie: I chose the PixelBricks because I wanted a low-profile fixture that could deliver both punchy audience effects and subtle scenic accents. The PixelBricks gave me the flexibility to create impactful moments without distracting from the action on stage. Their compact size meant they blended into the set, while their output allowed them to become part of the storytelling.
What is your favourite feature of the PixelBrick, or of Astera products in general?
Charlie: My favourite feature of the PixelBrick is its versatility. Despite its small size, it has an impressive output and can be used for everything from audience blinders to scenic lighting and practical effects. The level of control it offers, combined with its reliability, makes it a fixture that can adapt to almost any design. More generally, Astera products are incredibly well thought out they’re robust, quick to set up, and integrate easily into a wide range of productions, making them a great creative tool for designers.
For the production, Ambersphere supplied 5 Ayrton Zonda 9 FX units, 5 Levantes, and 2 Perseo Profiles.
Did the Ayrton fixtures perform to your expectations?
Charlie: Absolutely. All of the fixtures performed reliably throughout the production and exceeded my expectations. They gave me the flexibility to create a wide variety of looks, from subtle atmospheric moments to bold, high-energy musical numbers, without compromising on output or colour quality.
Was there anything about the fixtures you particularly liked?
Charlie: The Zonda 9 FXs were a real standout. Their pixel mapping and continuous rotation made them incredibly versatile, allowing me to create dynamic aerial looks and eye-catching effects that really elevated the musical numbers. The Levantes were fantastic workhorses, with excellent output, shuttering, and smooth movement, while the Perseo Profiles delivered beautifully clean projection and gobos. Across all three fixture types, the colour mixing was exceptional and consistent.
Were there any parts of the lighting that you think worked particularly well?
Charlie: One of my favourite moments was the Crapshooters dance in Act 2. It gave me the opportunity to really make use of the Ayrton fixtures’ versatility, creating strong beams, textured looks, and dynamic movement that helped shift the atmosphere into something much more dreamlike and theatrical. The combination of colour, movement, and aerial effects made it one of the most visually exciting moments of the show.
The show was programmed and operated via a grandMA3 Light console running software version 2.3.2.0., by assistant and programmer Danny Connaire.
What are your top 3 grandMA3 features and why?
Danny: Selection Grid. It makes creating layouts and programming effects much more intuitive, allowing me to visualise the rig and build effects exactly where I want them.
Recipes provide a flexible way of programming, making it easy to build detailed looks and single-shot effects that can be updated without rewriting cues.
Phasers are incredibly powerful for creating both subtle movement and energetic effects, giving precise control over timing, direction and intensity throughout the show.
Did you use Recipes? How did they help you on this project?
Danny: Recipes played a key role in making the programming more flexible and efficient. One example was a cue where Charlie, the Lighting Designer, wanted a shuttered rectangle of light to open across the stage, creating a defined pathway with the pixel bricks turning on as the shuttered edge hit them. Using Recipes, I linked the four Astera PixelBricks to the shutter movement, so they automatically illuminated when the shutters opened, and faded out again as they closed. This meant the effect remained synchronised and was easy to adjust throughout the programming process.
We also used Recipes to create wipe effects on the E-Strips during the song “Guys and Dolls”. Rather than simply fading the strips out, the Recipes allowed the light to close down across the stage over varying durations, following the rhythm and phrasing of the vocals. This created a much more dynamic and musical effect while remaining easy to refine as the show evolved.
Photos: Jorge Lizalde