On tour, White Light has supplied equipment to Highland Fling, the new ballet directed by Matthew Bourne, designed by Lez Brotherston and with lighting by Paule Constable - who on Sunday became the winner of this year's Olivier Award for Best Lighting for her work on His Dark Materials at the National Theatre; to Dracula, lit by Rick Fisher, to Insignificance, lit by Neil Austin, to The King and I, lit by Peter Mumford, to Sleeping Beauty on Ice, lit by Gavan Swift, and to The Witches, lit by Mark Jonathan. Tours returning for the New Year using White Light equipment include The Play What I Wrote, lit by Tim Mitchell, An Inspector Calls, lit by Rick Fisher, Miss Saigon, lit by Jenny Kagan, and Singalonga Abba.

In the West End, the first six weeks of the year have seen new productions including Whose Life Is It Anyway?, with lighting designed by Paul Pyant, The Anniversary, lit by David W Kidd, National Anthems, lit by Jason Taylor, as well as Billy Elliot, currently in production and with lighting by Rick Fisher. White Light is also supplying the equipment to A Life In The Theatre in which lighting designer Neil Austin is not only using White Light's stock of current lighting equipment, including Source Fours, Rainbow scrollers, City Theatrical AutoYokes and ETC Revolutions, but also its 'back catalogue' of older equipment, including Strand's venerable Patt 23 spotlight, to create the period lighting rig that the show, as it's title suggested, required!

In the West End, the new productions join the many long-running shows using White Light equipment, including Chicago at the Adelphi, now in its eighth year, the multi-Oliver Award winning The Producers, Chitty Chitty Bang Bang, Festen, Joseph..., The Woman In White, the Royal Shakespeare Company, and Les Miserables.

A full listing of the shows using White Light's equipment, plus information about the many other services the company offers across the full field of entertainment lighting, can be elsewhere on this website.