When Roald Dahl’s Charlie and the Chocolate Factory first captivated readers in 1964, few could have imagined the scale of theatrical spectacle it would inspire decades later.
Today, the Asia touring production, directed by Matt Lenz and presented by Broadway International Group, brings Dahl’s fantastical world to audiences in Shanghai, Beijing, Taipei, Singapore, Hong Kong, Manila, Seoul and beyond.
It is a rare privilege to return to such a beloved and familiar project and be given the opportunity to reinvent it. I wanted this production to be even more magical and engaging than ever. I wanted the show, like Willy’s factory, to surprise at every turn and take the audience on a journey of imagination, says Matt Lenz, director of the Asia tour.
Designing a production of this scale for an international tour presents a unique challenge. How do you preserve the visual magic and narrative precision of a Broadway favourite while adapting to constantly changing venues, sightlines and technical constraints?
For this global tour, the answer was to completely reinvent the show’s visual language, centred around INFiLED’s AR Series LED panels.
Previous iterations of the production relied heavily on projection mapping and 9 mm pitch LED screens. While effective at the time, these technical limitations shaped the aesthetic in restrictive ways. “Projection was used to differentiate the various rooms of the chocolate factory through shadow work and delicate scenic accents”, explains Jeff Sugg, video and projections designer, who has been involved with the show since its Broadway debut in 2016.
However, resolution limitations were evident. “The aesthetic was constrained by the fact that the walls were a 9 mm pitch”, says Sugg. “As a result, it was essential that the content did not rely on gradients or soft edges within transitions or the overall design structure”.
For the global tour, the creative team — including Sugg, video system designer Mogzi and lead integrator Stage Sound Services of Cardiff, Wales — pursued a richer, more cinematic approach. The system needed to support large-scale spectacle while also delivering intimate and nuanced storytelling moments. It also had to be fully tour-ready.
“The tour is designed as a self-contained theatrical world”, explains Drew Cipollone, Broadway Asia production stage manager and resident director. “It must be capable of adapting to vastly different venues without losing its magic or cohesion”.
The production introduced 136 INFiLED AR Series panels, forming a 7.5 x 6 metre main LED back wall and two automated tracking sliders, each measuring 2.5 x 6 metres. The system is driven by Brompton Technology Tessera SX40 processors and Tessera XD data distribution units, ensuring consistent image processing and colour fidelity across different environments.
The INFiLED AR Series (now upgraded to the ARmk2 Series) was selected for its fine 2.9 mm pixel pitch, lightweight cabinet design and flexible installation system. Panels can be stacked to great heights while maintaining stability, curved up to 10 degrees, and accessed from both front and rear for efficient maintenance—essential features for an international touring production.
As a video designer, my main concerns with LED panels are colour depth, viewing angle, weight, transitions and gradients, and installation flexibility. They also need to be non-reflective to enhance black levels and disappear on a dark stage. Ultimately, it’s crucial to have high-resolution panels and high-quality processing to achieve this, adds Sugg.
The AR Series meets these demands. Its fine pixel pitch and high bit depth enable smooth gradients, soft transitions and detailed textures that feel more like scenic elements than screens. The low-reflective surface preserves deep blacks, allowing the panels to nearly disappear when the narrative focus shifts to performers. In addition, wide viewing angles ensure consistent image quality even in complex scenic configurations.
For Lenz, the agility of the screens was key to the storytelling. “It allowed us to keep transitions lively and fluid”, he explains. “The show requires characters to move quickly between multiple locations, and video was essential in achieving that”.
“From a creative standpoint, the challenge was ensuring the panels supported dynamic, cinematic and sometimes surreal storytelling without overshadowing the action onstage”, adds Cipollone. “From a practical perspective, they had to be tour-ready: reliable, flexible and efficient to install and maintain. INFiLED’s AR2.9 strikes that balance between artistic vision and operational demands”.
The selection process was highly collaborative. “While the producers at Broadway Asia provide final approval, input also came from the scenic designer, lighting designer, video/projection team and production management”, explains Cipollone.
Mogzi, an experienced system designer with West End credentials, played a key role in aligning the technical setup with the artistic vision. Meanwhile, Stage Sound Services contributed its expertise in theatre and live production to deliver a system capable of withstanding frequent international transport.
“The panels are highly robust and handle load-ins, load-outs and long-distance transport with ease”, says Cipollone. “Installation and strike are efficient, helping keep the tour on schedule”.
Beyond technical reliability, the LED system has become an active storytelling element. “I love working with video and projection, but it’s easy for it to take over”, says Lenz. “Jeff Sugg knows how to find the perfect balance. Each element onstage can shine in its moment, but the goal is for everything to tell the same story in a cohesive way”. Cipollone agrees: “They act as another storyteller, allowing the stage to expand, contract and transform in real time. They create cinematic moments, enhance the theatrical illusion and fully immerse the audience without overshadowing the performers or the story”.
The response from cast, crew and audiences has been highly positive.
Designers highlight how the screens integrate seamlessly with lighting, scenery and effects. Performers benefit from visual clarity, while the technical team values the system’s reliability. Audiences frequently comment on how immersive the experience is within Wonka’s world, adds Cipollone.
With multiple Tony Awards and Olivier nominations throughout its history, Charlie and the Chocolate Factory continues to evolve both technically and artistically.
On this global tour, INFiLED’s AR Series has proven to be far more than a backdrop: it is an essential part of the storytelling, delivering scale, clarity and a renewed sense of wonder in every city.
Production: Broadway International Group // Photo: Yingzhou
