Legendary for his work in modern musical theatre, composer Andrew Lloyd Webber’s pieces have been a fixture in theatre for decades. From Jesus Christ Superstar to Phantom of the Opera to the recently rejuvenated awkwardness of Cats, the influential writer is still crafting musicals to this day. So it may come as little surprise that he is the owner of West End London’s Theatre Royal Drury Lane—a historical theatre that just finished a two-year renovation this summer. But what might come as some surprise is the composer using the halls of Drury Lane to display his Pre-Raphaelite collection.

As part of the £60million pound restoration project for Drury Lane, sections of the grand theatre have been made accessible during the day, including gallery space. Much of the works on display are Webber’s Pre-Raphaelite pieces, which include Edward Burne-Jones’ The Adoration of the Kings & Shepherds, but newer pieces also can be found such as the works of Maria Kreyn that depict various Shakespearean scenes. With both the gorgeous aesthetics of the remodelling as well as the integration and presentation of Webber’s collection, artistry abounds in the new Drury Lane.

Theatre Royal Drury Lane has been operating for 350 years, first being constructed in 1663, and has since been a piece of theatre history on a massive scale. Its stages have been graced by the likes of Nell Gwynn—one of the first female actors of English stage—as well as Julie Andrews in My Fair Lady. The gearing towards utilizing more of the space for daytime viewing via the gallery spaces as well as dining and drinking areas seems a step in the right direction for historically grandiose theatres such as this, making for more than an empty building and rehearsals by daylight.

Andrew Lloyd Webber’s influence within the theatre community of England and the world at large can’t be understated. His are wise hands to hold such a treasure as the Theatre Royal Drury Lane. As a wealth of theatres undergo and emerge from restorations, it is heartening to see the care put into maintaining these titans of theatre past.

Hybrid and fusion within artistic fields truly is the oncoming future. Through the blending of boundaries, varying art forms are able to merge to create new experiences beyond the sum of their parts. Visual arts, sound design, performance, literature, and film can all benefit greatly when recognized as units. And Lighthouse Immersive’s upcoming exhibition Touch is sure to be an exemplary display of this approach with their fusion of dance projection work.

Lighthouse Immersive is a Toronto based company that describes themselves as an “experiential entertainment multi-plex”, characterized by their programming that utilizes their physical space and digital projections alongside live performance. Immersive Van Gogh, which has been running for several years now, has been a widespread success that places audiences within the visuals of the iconic artist. Founded by producers Corey Ross and Svetlana Dvoretsky and developer Slava Zheleznyakov, Lighthouse Immersive has expanded into Chicago and San Francisco as well.

Touch, which was announced with an opening date of September 29th, is a poignant concept after over a year of physical distancing. Presenting at Lighthouse Immersive Gallery 2 designed by Guillaume Côté with a collaboration of the artists from Côté Danse and Thomas Payette, it combines modern dance and 360 projection design in an interactive form. Lighthouse Immersive states:

“We discover the lost meaning of touch by experiencing the visceral intimacy of physical contact through their longing, loving, confusion, frustration, pent-up rage, and the catharsis of expressing innermost feelings.”

Courtesy of Lighthouse Immersive.

If the production stills are any hint at what the full offering will be like, it is certain to be a breathtaking exhibition. While the use of lighting design in dance performances is by no means a groundbreaking feat—a norm at this point—the power that radiates between the boundary of the bodies and the expansiveness of the projections for Touch amplifies the shape and motion of these snapshots of movement beautifully.

Live exhibitions are making their plans for comeback in full force, and it’s a more than welcome return. The quality of this first wave of performances appears to have a thread of commonality in their care of intent, their focus on aspects that have been dearly missed by communities. Lighthouse Immersive’s Touch is a fitting step back into this realm of connection, and it is evident from the handful of preview materials alone that this will be an exhibition not to be missed.