LONDON – Three of the four shows nominated for best lighting design at this year's Olivier Awards, including the winner, The White Guard, lit by Neil Austin at the Royal National Theatre's Lyttleton Theatre, relied upon ETC Eos for lighting control. The National Theatre embarked on a program to upgrade all of their lighting control consoles to Eos three years ago. More recently – less than a year ago – LD Paule Constable opted to control the lighting for Love Never Dies on Eos.
Control supervisor Sarah Brown moved from her previous position as a lighting programmer to being responsible for training all the staff on the use of the Eos at the National Theatre.
"While I was an operator," she said, "I was approached and asked what I thought of the desk – and I really liked the way it works. Our previous desks had reached the limits of their capabilities, and were taking far too long to load show files. There are many things we can do on the Eos that we couldn't do before."
"Eos was built from the ground up with theater users in mind," noted Mark White, ETC's regional manager for the U.K. and Ireland. "It provides easy – and fast – integrated total control of over 1,800 fixture types while maintaining ease of programming of conventional fixtures."
"Since the desk was launched in 2006, it has collected three prestigious awards for best lighting platform, and it's gratifying to see one of the many designers who specify Eos picking up an award of his own. Our ETC congratulations go to Neil Austin for his Olivier, as well as to the lighting department at the National Theatre for making it happen."
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