From disused warehouses to forgotten ballrooms, immersive experiences are redefining the boundaries of live entertainment. At the heart of these transformations is a technical team turning the improbable into the unforgettable. One of the most acclaimed creators in this space is The Lost Estate; renowned for converting unexpected venues into richly detailed, multi-sensory worlds where theatre, music, dining, and design converge seamlessly. Their latest production, Paradise Under the Stars, transports audiences to 1950s Cuba; 58th Street immerses them in 1930s New York; and The Great Christmas Feast invites guests into the home of Charles Dickens on Christmas Eve, 1843.
For many years, The Lost Estate has collaborated with Lighting Designer Peter Small and Production Electrician James Smellie to bring these ambitious visions to life. Together, they appointed White Light (WL) to deliver the lighting fixtures and technical expertise required to realise these unique productions.
We recently sat down with James to explore what it truly takes to bring these immersive worlds to life, painted by light. “It’s not just about installing a show,” he explains. “It’s about installing a world, and one that feels real, responsive, and alive.”
Working in unconventional spaces presents unique challenges. With no existing infrastructure, every light, cable, and emergency system must be imagined from scratch. “Hanging lights in a room that was never meant to host a show is always a puzzle,” says James. “Space is a critical consideration; not just for the audience, but for the set, the technical infrastructure, and the seamless operation of the entire experience.”
The creative process begins early, with lighting integrated into the set design from the first conceptual meetings. “We’re not just lighting a stage,” James notes. “We’re accentuating the world the set designers have built. Every palm tree, every table, every seat might carry its own lighting element.”
Paradise Under the Stars, one of The Lost Estate’s most ambitious productions, exemplifies this approach. With minimal overhead rigging, the team leaned into integrated lighting; LEDs in seat backs, practicals on tables, and uplighters hidden in tropical foliage. “It was a proper challenge,” James recalls. “But it allowed us to push boundaries and create something truly transportive.”
Safety and compliance remain paramount, even in these creatively demanding environments. Emergency lighting is discreetly embedded, and systems are designed to respond instantly to power failures and all without breaking the illusion. “It’s about keeping people safe while keeping them immersed,” says James.
Recent advances in networking have also reshaped the technical landscape. “It’s not about new tech, it’s about new understanding,” he explains. “Operators now grasp complex systems, which lets us design smarter, more flexible setups.”
Throughout, WL has been a constant partner. “Nothing is ever too difficult,” James says. “Whether it’s a small show or a major production, the service is always the same; reliable, responsive, and ready to go further.”
WL’s Head of Lighting, Dominic Yates, adds: “We’ve worked with James and Peter on numerous productions, and what I love most is being able to help them realise both their creative and technical vision. For each show, it’s essential that the lighting feels period-appropriate, and thanks to our extensive inventory, we’re able to deliver exactly what’s needed to bring those worlds to life.”
As immersive experiences continue to evolve, the technical artistry behind them remains invisible for audiences by design. “If we’ve done our job right, then the audience won’t notice the tech at all. They’ll just feel like they’ve stepped into another world.”
The Lost Estate has recently announced its next immersive dining experience, and we can’t wait to step into 1890s Paris, inside the legendary cabaret club, Chat Noir!
58th Street Credits:
Lighting Designer: Peter Small
Associate Lighting Designer: Tyler Forward
Lead Production Electrician: James Smellie
Programmer: Phillip Burke
Production Electricians: Al Simpson, Jen Garland, Charlie Jones, PJ Davy, Bradley Halliwell, Ben Sayers, Efa Jane, Sammy Emmins
Paradise Under the Stars Credits:
Lighting Designer: Peter Small
Lighting Programmer: Tom Davis
Lead Production Electrician: James Smellie
LX1: Benjamin Vetluzhskikh
Production Electricians: Bradley Halliwell, Alex Walton, Sophie Telfer, Jacob Gowler, Jack Hathaway, Jen Garland, Em Crochetiere
About White Light
White Light, a d&b solutions company, is your trusted lighting specialist operating in a range of markets including performing arts, music, leisure, education, and trade. Since 1971, we have built a strong reputation for delivering lighting sales & hire projects of all sizes across the UK, Europe, and globally.
We take pride in maintaining a client-centric approach and upholding the high standards of quality that have driven our success. Our commitment extends beyond technical excellence. We value the wellbeing of our employees and customers while fostering sustainability.
As a B Corp certified company with ISO 14001 and albert accreditations, we actively promote environmentally responsible practices at both corporate and individual levels.
