Earlier this semester University of Southampton English students taking an introductory module on the history of theatre and film had an opportunity to review Howard Brenton\u2019s hugely popular play, The Shadow Factory<\/i>, at Nuffield Southampton Theatres. Rebecca Davies writes about how the lighting and projection was used to enhance the story to great effect.<\/p>\n
<\/p>\n
Howard Brenton\u2019s ‘The Shadow Factory’, directed by Samuel Hodges, has patriotic values at the heart of its narrative. It is a celebration of local history, dramatising the bombing of Woolston Supermarine Factory, and the subsequent dispersal of Spitfire production across other areas of the city.<\/p>\n
The dual roles of some of the actors highlighted the universality of the effects of ![\"\"](\"https:\/\/i0.wp.com\/generic.wordpress.soton.ac.uk\/arts-at-unisouth\/wp-content\/uploads\/sites\/149\/2019\/02\/The-Shadow-Factory-Len-Gooch-Joe-Tracini-A-Nuf6588-200x300.jpg?resize=200%2C300\")
the war. For example, Denise Black alternated between the illustrious Lady Cooper, who surrendered\u00a0Hursley House when it was requisitioned by the government to be used for aircraft design, and the formidable Ma Dimmock, whose family is forced to turn their laundry into a \u201cshadow factory\u201d for producing Spitfire parts. These two characters both made sacrifices which\u00a0represented a united front against the Luftwaffe that transcended the usual boundaries of social class.<\/p>\n
A particularly interesting aspect of the production was the use of lighting. The use of projections onto the stage in order to indicate changes in time and place permitted a more minimalist use of props, and a seamless transition between scenes. The innovative lighting arrangement, which the production company describe as a “kinetic structure”, was especially impressive. Not only is it able to ![\"\"](\"https:\/\/i0.wp.com\/generic.wordpress.soton.ac.uk\/arts-at-unisouth\/wp-content\/uploads\/sites\/149\/2019\/02\/The-Shadow-Factory-The-Community-Company-Ensembl6592-300x225.jpg?resize=300%2C225\")
change intensity in more emotionally-charged scenes, but actors on stage were\u00a0able to interact with it, integrating it into their performance. At one point in the second act, the motion of the lights simulated the flight of a Spitfire in the imagination of Jackie Dimmock, as she established an ambition to become a pilot. The lights were also used as a divide to separate the action on stage, marking physical boundaries between rooms and helping bring local landmarks to life.<\/p>\n
These directorial choices gave several moments within the performance a sense of poignancy and nostalgia, evoking wartime emotions of loss and grief, as well as loyalty to king and country.<\/p>\n