Photo by Paul Kolnik


a complex piece of knitting that it would be almost impossible to deconstruct without it having a far reaching impact on every other creative element. Set designer, Rae Smith decided that the soldier in the story should also be a war artist. This allowed the set to be built around war through the artist’s eyes, which in turn gave a clear language of ideas and imagery that could take the creative team from Edwardian pastoral imagery to the harrowing, confusing and tragic world of war. Lighting for the Devon homeland was kept high and naturalistic. All the light seems to come from a distance. This contrasts heavily with the war scenes where all the lights blast in from low angles. Here there is a sense of oppressive foreboding, claustrophobia and violence. The war scenes are cleverly constructed and use a palette of low lighting angle and chemical unnatural colour – often from discharge source, in this case Vari-Lite VL500’s. In such a light the horses become skeletal and vulnerable, whereas in Devon the high angles ensure the horses appear solid, more like living breathing creatures. Constable explains: “It’s really simple, the whole pastoral, Devon, rural environments demand high lighting angles from above the scenic cloud which doubles as a projection screen. I use parcans, tungsten and some bright warm colour - L 205, 206 - if I’m feeling generous! It’s nostalgic, warm and homely. For the war scenes it’s all below the scenic cloud level. We use discharge fi xtures so it feels chemical, manmade - again 201 / 202 open white discharge VL500’s. HMIs are positioned in the wings as the charges across the stage into no-mans-land take place. In the UK it is Atomics in the rear stage area, in New York we use Mac IIIs from the low truss under the screen. The palette is similar to the paintings of war artists such as Paul Nash - acidic, mustard gas, explosive. Most of the war scenes are staged in silhouette, heavily backlit because what goes on in the darkness is as important as what goes on in the light.” “The thing about War Horse is that the audience is in the middle of it, we put lights where they could see them so the experience is that of being in an arena, they are part of the action. The whole point of War Horse is that it has to come from within. You don’t want it to feel like effect after effect but rather you want the audience to be in a heightened place from the start,” concludes Constable.


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