Guest Blog: CEO of Ammonite Studios, Rob Casey, on The Sustainable Makeover of WAR HORSE

Founded in 2018 by co-founders and creative directors Jon Lyle and Rob Casey, Ammonite is a leading creative studio renowned for designing experiences across theatre, live events, and installations. Merging video and lighting expertise, Ammonite has been responsible for creating some of the most innovative and successful West End and Broadway shows in history, including the award-winning Harry Potter and The Cursed Child, and most recently the theatre adaptation of Oscar Wilde’s The Picture of Dorian Gray. 

A new chapter dawns for The National Theatre’s production of War Horse, and we are incredibly honoured to be a part of this reimagined classic. Returning to UK stages for the first time since its debut in 2007, the production will feature a brand-new lighting design, and we are proud to step into the esteemed role previously held by the renowned Paule Constable.

This moment feels particularly special for me, as I was one of the original associate lighting designers on the show with Paule. Now, taking over as the lead lighting designer, it feels like coming home. Starting from the ground up, this new design not only makes the production more adaptable for touring but also significantly enhances its environmental sustainability. Right now, we are working with the cast, integrating the new design into their staging as we step through the show. It’s an exciting process, and we can’t wait to see the outcome.

Our design inspiration for the show comes from a deep connection to both the music and projections, with a strong emphasis on musical cues than ever before. I’ve immersed myself in the music and our goal is to create a seamless, fluid show where the entire performance flows together without the traditional scene breaks. The lighting is a continuous presence, gracefully shifting from one moment to the next in harmony with the music. 

The set design, created by the talented Rae Smith, plays a crucial role in this new vision. Rae’s extensive sketchbook, which captures the essence of the show, has been brought to life by the team at 59 Productions through dynamic animations. These visual elements serve as the narrative backbone of the production, guiding the creative team’s vision and providing a visual framework that ties the entire show together.

Using cutting-edge technology, the lighting rig for the show has been transformed into a complete moving light rig. This upgrade not only speeds up the touring relight process but also offers incredible flexibility from a design perspective. Now, when staging different sections of the show, there’s no longer a need to adhere to rigid placements. Lights can be adjusted remotely from the lighting desk, eliminating the need for manual adjustments.

With the advancements in technology, we’re now able to close the world into one horse, something that wasn’t possible before. We’re utilising the Macula follow spot system, a handheld remote follow spot system, which allows us to control any of the light in the rig. This means that at times, all 42 backlights can follow just one horse. 

In addition, the show is now exclusively powered by LED lighting, which significantly reduces energy consumption. This shift not only enhances the visual experience but also supports our commitment to sustainability by minimising the show’s environmental impact. Previously, the show relied on about 160 dimming channels, but now we've eliminated them entirely, which we are incredibly excited about.

However, this shift came with its own set of challenges. The puppets, created by Handspring, presented a unique hurdle. Joey, the main horse, is a deep auburn brown - a colour that traditionally responds beautifully to tungsten lighting. Reproducing that same effect with LED lights has always been a formidable challenge. While many have attempted to replicate it, none have fully succeeded. Despite the challenges, the team has successfully used the latest advancements in LED technology to achieve a close match, ensuring that the iconic look of Joey remains intact.

By harnessing modern technology to illuminate the production, we hope the audience will experience an exhilarating and revitalised experience, one that feels contemporary and vibrant, rather than a show from 15 years ago. Our goal is to bring a fresh perspective to the stage, ensuring that the production feels as dynamic and engaging as ever. 

This production is poised to set a new benchmark for the future of theatre, combining sustainability with enhanced efficiency in groundbreaking ways. We’re excited to see how our innovative design will influence and establish new standards for productions moving forward, leading the industry toward a more eco-friendly and efficient approach to storytelling.

War Horse will tour the UK and Ireland from 5 September, starting at New Wimbledon Theatre

Photo Credits: Brinkhoff Mögenburg 

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