Behind the Curtain: INFiLED’s Role in Transforming Modern Stagecraft

Theatre stage design has entered a new era, one where digital and physical worlds converge to enhance the storytelling of live theatre. 

At the forefront of this transformation is the collaboration between INFiLED and our partner Stage Sound Services, a premium production services company providing sound and video services to theatre, corporate events & TV industries.

Together, we’ve showcased the potential of INFiLED’s DB Series & AR Series LED screens in theatrical productions worldwide, including The Artist, the musical 42 Balloons, and the manga-inspired Your Lie in April.

In this case study, we team up with Mogzi, a seasoned Projection System Designer who has collaborated with Stage Sound Services on these productions. He shares his insights into the capabilities of INFiLED LED products, their impact on the audience experience, and the future of LED technology in the performing arts.

Bringing Stories to Life

Mogzi has an extensive background in theatre, including a tenure as the Video Supervisor at the National Theatre, and has overseen the video content and delivery on more than 50 productions, including renowned theatre productions such as Tina, The Tina Turner Musical. 

His experience reflects a lifelong dedication to the art form. For Mogzi, modern technology is a tool to elevate the craft of theatre stage design and storytelling. This philosophy shines through in his work on The Artist, 42 Balloons, and Your Lie in April.

• The Artist: A mix of INFiLED DB2.6 and AR2.9 panels was used to bring Ash J Woodward’s video design vision to life, creatively telling the story on stage at the Theatre Royal, Plymouth.
• 42 Balloons: INFiLED DB2.6 panels animated scenic elements in conjunction with projected imagery by Andrzej Goulding, enriching the performance at The Lowry Theatre, Salford.
• Your Lie in April: Hundreds of DB2.6 and AR2.9 panels delivered Dan Light’s dynamic and vibrant video designs, enhancing the manga-inspired staging at the Harold Pinter Theatre, London.

“When the audience is just 7 to 10 meters from the stage, every detail matters,” explains Mogzi. “The DB2.6 delivers a cinematic level of depth and precision, ensuring clarity and immersion even at close viewing distances.”

The Invisible Screen

One of the standout features of the DB2.6 is its ability to remain unobtrusive when not in use. “It’s not just about what the LED looks like when it’s on—it’s what it looks like when it’s off,” Mogzi points out. “The DB2.6 is so dark in unlit surroundings that it becomes virtually invisible, allowing the audience to stay focused on the story.”

This characteristic is critical in theatre, where set design must balance functionality with aesthetic harmony. 

Unlike projection systems that can be noisy and intrusive, the DB2.6’s silent operation and seamless integration make it a favorite among stage designers in theatre.

Reliability That Tours Demand

For Mogzi, reliability is non-negotiable. “I’ve done entire tours and not swapped a single tile out,” he says. “With the DB2.6, you know it will work the moment you turn it on.” This reliability has made the DB2.6 a go-to choice for touring productions, where time and resources for maintenance are limited.

Blurring the Lines Between Physical and Digital

One of the most exciting developments in theatre is the seamless fusion of physical sets with digital elements, made possible by INFiLED technology.

For The Artist, the seamless integration of DB2.6 and AR2.9 panels allowed Ash J Woodward to craft stunning visuals that blended perfectly with the onstage action, enhancing the storytelling.

Similarly, 42 Balloons utilized DB2.6 panels to animate scenic elements, working harmoniously with projected imagery to create a layered visual experience.

In Your Lie in April, hundreds of DB2.6 and AR2.9 panels brought Dan Light’s dynamic and vibrant visuals to life, immersing the audience in the manga-inspired aesthetic. As Mogzi explains, “The audience doesn’t realize half of what they’re looking at is delivered on an LED wall. It integrates so seamlessly into the set design that it blurs the line between real and digital scenery.”

Trends and the Future of LED in Theatre

Mogzi’s career spans two decades, during which he has witnessed the rise of video design as a discipline. He noted that while projection systems remain valuable for their warmth and atmospheric qualities, LED screens like the DB2.6 have become indispensable for their precision and versatility. “Projection gives you that softness and warmth, while LED adds the sharpness and precision,” he explained. Together, they create a balanced visual experience that enhances storytelling.

Looking ahead, Mogzi identified transparency as the next frontier for LED technology, enabling it to function like traditional gauze, allowing visuals and sound to pass through. “My dream would be to be able to do a front gauze on a theatre show with LED rather than projection. ”

While current transparency levels remain a challenge, Mogzi is optimistic. “We’re not there yet, but I’m optimistic. Ten years ago, LEDs looked very different, and the progress since then has been incredible.”

Conclusion

The DB2.6 is more than just an LED panel; it’s a tool that empowers theatre designers to innovate and elevate their craft.

James Paul, the Head of Video at Stage Sound Services, highlighted this sentiment: “Stage Sound Services are proud to stock INFiLED as our preferred choice for LED. The system can be as simple or as complex as the shows require, and the flexibility of use allows for the creative and daring designs that Mogzi is involved in.”

With its unparalleled clarity, reliability, and ability to blend seamlessly into the stage environment, the DB2.6 is setting a new standard for LED technology in theatre.

As Mogzi and his peers continue to explore the creative potential of LED screens, the theatre of tomorrow promises to be more immersive, dynamic, and captivating than ever before.