James Farncombe Lights New London Revival of Who's Afraid of Virginia Woolf? with White Light

	Photo: Johan Persson

White Light (WL) supplied supplied the lighting equipment for the latest production of Who's Afraid of Virginia Woolf?, currently playing at @sohoplace. Starring Emmy and Golden Globe winner Gillian Anderson alongside Emmy and Tony Award winner Billy Crudup, this gripping revival pulls audiences into the center of one of theatre's most explosive relationships.

Featuring a lighting design by acclaimed lighting designer James Farncombe, the production uses light with restraint and precision to reflect the play's gradual descent from domestic familiarity into psychological intensity.

Making his first foray into Edward Albee's landmark drama, Farncombe approached the production with a focus on supporting the story's emotional arc rather than drawing attention to the technology behind it.

"I wanted it to look as natural, cosy and inviting as possible to start with," explains Farncombe. "As the characters descend into the emotional depths of the play, the lighting shifts slowly to darker, more sculptural and atmospheric states."

Set in an intimate domestic environment, the production required lighting that could evolve alongside the narrative while maintaining visual interest throughout. Working in the round, Farncombe developed a subtle yet expressive design language inspired by contrasting sources of light.

"I wanted the suggestion of street lights from outside, with an opposing key that felt like moonlight," he says. "It's not entirely naturalistic, but something that echoes the psychological tone of the action. The contrast between the two helped create a more dramatic, sculptural look and suggested the passing of time."

Interestingly, part of this visual world was inspired by a personal memory.

"I realised I was drawing on a memory of my grandmother's front room, where a street light outside would fill the room at night."

As the production progresses, the warmth of the opening scenes gradually gives way to a colder, more unsettling atmosphere.

"As the play approaches its conclusion, the lighting shifts into a cold and queasy morning light. After everything the characters have been through, they're all heading for some intimidating hangovers."

Delivering this transformation required fixtures capable of producing natural colour, smooth fades and multiple functions within a highly visible rig. Farncombe drew on Martin MAC Encore Performance fixtures overhead, supported by ETC Source Four LED Series 2 Lustr luminaires on the balcony front.

The production's scenic design also presented unique challenges. A large flown, ring-shaped ceiling element limited physical access to the rig, making moving lights essential.

"The majority of the overhead rig had to be moving heads because of access. I also wanted natural colors and the ability to shift tone smoothly over long cue times. With all this in mind, Encores and Lustrs were my first and only preference."

The final design emerged through a collaborative process, with Farncombe working alongside set designer Miriam Buether, director Marianne Elliott, sound designer Ian Dickinson and the wider production team.

"Marianne trusted me to develop the lighting while she and the actors wrestled with the play. Ian and I were able to develop our work throughout tech and previews, refining moments as we went."

Among Farncombe's favorite moments is the production's final lighting state, discovered at the very end of technical rehearsals and later used to inform revisions throughout the show.

"I like the final state. Finding that look changed how I approached Acts Two and Three. There's also a final cue that Ian Dickinson and I refined together, tying light and sound into a very satisfying ending."

Reflecting on the project, Farncombe praised the collaborative efforts behind the production and WL's role in delivering the rig.

"WL was very good indeed. They delivered the entire rig within budget, with no subs and excellent, responsive support."

He also acknowledged the contributions of programmer Nadene Wheatley, production electrician Theo Chadra, video programmer Jeff Sugg, and the lighting team at @sohoplace for their support throughout the production.

Jedd Hamilton, WL's key account manager, comments: "James has created a beautifully nuanced lighting design that supports the emotional journey of the production with remarkable subtlety. We're proud to have supported the creative team with a solution that delivered both the flexibility and reliability required for the show. At WL, we value these collaborative partnerships and were delighted to help bring this compelling production to the stage."