UK - The Lost Estate’s latest production, Paradise Under the Stars, transports audiences to 1950s Cuba; 58th Street immerses them in 1930s New York; and The Great Christmas Feast invites guests into the home of Charles Dickens on Christmas Eve, 1843.
For many years, The Lost Estate has collaborated with lighting designer Peter Small and production electrician James Smellie to bring these ambitious visions to life. Together, they appointed White Light (WL) to deliver the lighting fixtures and technical expertise required to realise these productions.
“It’s not just about installing a show,” explains James. “It’s about installing a world, and one that feels real, responsive, and alive.”
Working in unconventional spaces presents various challenges. With no existing infrastructure, every light, cable, and emergency system must be imagined from scratch. “Hanging lights in a room that was never meant to host a show is always a puzzle,” says James. “Space is a critical consideration; not just for the audience, but for the set, the technical infrastructure, and the seamless operation of the entire experience.”
The creative process begins early, with lighting integrated into the set design from the first conceptual meetings. “We’re not just lighting a stage,” James notes. “We’re accentuating the world the set designers have built. Every palm tree, every table, every seat might carry its own lighting element.”
Paradise Under the Stars, one of The Lost Estate’s most ambitious productions, exemplifies this approach. With minimal overhead rigging, the team leaned into integrated lighting; LEDs in seat backs, practicals on tables, and uplighters hidden in tropical foliage. “It was a proper challenge,” James recalls. “But it allowed us to push boundaries and create something truly transportive.”
Safety and compliance remain paramount, even in these creatively demanding environments. Emergency lighting is discreetly embedded, and systems are designed to respond instantly to power failures and all without breaking the illusion. “It’s about keeping people safe while keeping them immersed,” says James.
Throughout, WL has been a constant partner. “Nothing is ever too difficult,” James says. “Whether it’s a small show or a major production, the service is always the same; reliable, responsive, and ready to go further.”
WL’s head of lighting, Dominic Yates, adds: “We’ve worked with James and Peter on numerous productions, and what I love most is being able to help them realise both their creative and technical vision. For each show, it’s essential that the lighting feels period-appropriate, and thanks to our extensive inventory, we’re able to deliver exactly what’s needed to bring those worlds to life.”