Barcelona (Spain) – When Roald Dahl’s Charlie and the Chocolate Factory first delighted 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, presented by Broadway International Group, brings Roald Dahl’s fantastical world to audiences across Shanghai, Beijing, Taipei, Singapore, Hong Kong, Manila, Seoul and beyond.
“It is a rare gift to be able to return to a beloved and familiar project like this and be given the opportunity to reimagine it,” says Matt Lenz, director of the Asia touring production. “I wanted this production to be even more magical and more visually engaging than ever before. I wanted the show, like Willy’s factory, to be surprising at every turn and to take the audience on a journey of imagination.”
Designing a production of this scale for an international tour presents a unique challenge. How do you preserve the visual magic and storytelling precision of a Broadway favorite while adapting to constantly changing venues, sightlines and technical constraints?
For this global tour, the answer lay in reimagining the show’s visual language from the ground up, all centred around INFiLED’s AR Series LED panels.
Earlier iterations of the production relied heavily on projection mapping and 9 mm pitch LED walls. While effective at the time, those technical limitations shaped the aesthetic in restrictive ways.
“The projection was used to differentiate the various rooms of the chocolate factory with lots of shadow work and delicate accentuations of the scenic piece,” says Jeff Sugg, video and projections designer, who has been involved with the show since its Broadway debut in 2016.
However, resolution constraints proved limiting. “The aesthetic was bound by the fact that the walls were a 9 mm pitch,” Sugg states. “As a result, it was imperative that the content didn’t lean on gradients or soft edges within the fades and design structure.”
For the global tour, the creative team, which includes Sugg, video system designer Mogzi and lead integrator Stage Sound Services of Cardiff, Wales, sought a richer, more cinematic approach. The system needed to support large-scale spectacle, while also delivering intimate, nuanced storytelling moments. Crucially, it also had to be entirely roadworthy.
“The tour is designed as a fully self-contained theatrical world,” says Drew Cipollone, Broadway Asia production stage manager and resident director. “It has to be capable of landing in vastly different venues without losing its magic or cohesion.”
The production introduced 136 INFiLED AR Series panels, forming a 7.5 x 6 meter main LED back wall and two automated tracking sliders, each measuring 2.5 x 6 meters. The system is driven by Brompton Technology Tessera SX40 processors and Tessera XD data distribution units, ensuring consistent image processing and color fidelity across varying 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 big heights while retaining stability, curved up to 10 degrees and accessed from both front and rear for efficient maintenance. These are all essential attributes for an international touring production.
“As a video designer, my primary concerns with LED wall products are big depth for colour rendering, viewing angle, weight, fades and gradients, and adaptable installation,” says Sugg. “The panels also have to be non-reflective for this production to accentuate black levels and to disappear on a dark stage. All in all, it is vital to get higher resolution LED panels and high-quality processing to make this happen.”
The AR Series addressed these concerns directly. Its fine pixel pitch and high bit depth allow for smooth gradients, soft fades and detailed textures that feel dimensional rather than screen-based. The low-reflective surface preserves deep blacks, enabling the panels to virtually disappear when the narrative focus shifts to performers. And wide viewing angles ensure consistent image quality, even when panels are integrated into angled scenic elements.
For Lenz, the agility of the screens was central to the production’s storytelling. “They allowed us to keep the transitions very alive and fluid,” he says. “The play requires the characters to be in many different locations and to get there quickly, so the video element was a real life-saver.”
“Creatively, the challenge we faced is that the panels needed to support dynamic, cinematic, and at times, surreal storytelling without overwhelming the core action onstage,” says Cipollone. “Practically, they had to be tour-ready. They had to be reliable, flexible and efficient to install and maintain. The INFiLED AR2.9 achieves this balance, fulfilling both the artistic vision and the operational demands of this international tour.”
The selection process was notably collaborative, as Cipollone states, “While the producers at Broadway Asia provide their final approval, input came from the creative team too, including the scenic designer, lighting designer, the video/projection design team and production management.”
Mogzi, an experienced system designer with West End credentials, played a key role in aligning the technical configuration with artistic intent. Meanwhile, Stage Sound Services, known for its theatre and live production expertise, delivered the touring system, which is capable of handling frequent international transport.
“The panels are highly resilient, handling frequent load-ins, load-outs and long-distance transport with ease,” says Cipollone. “Installation and striking are efficient, helping keep the show on schedule.”
Beyond technical reliability, the LED system has become an active narrative device.
“I genuinely love working with video and projection, but it’s easy to let video pull focus and overwhelm the proceedings,” says Lenz. “Jeff Sugg is a master at providing just the right amount of interest and movement. He knows it’s a balance. Everything onstage can have its time and place to shine, but ultimately the goal is to get all departments and elements telling the same story at the same time.”
Cipollone echoes that perspective “They act as a storyteller themselves, allowing the stage to expand, contract and morph in real time,” says Cipollone. “They create cinematic moments, heighten the theatrical illusion and help every audience member feel fully immersed in the magic, without ever overshadowing the performers or the story.”
The response from cast, crew and audiences alike has been overwhelmingly positive. “Designers praise how the screens integrate seamlessly with lighting, scenery and illusions,” Cipollone adds. “Cast members benefit from the clarity and consistency of the visuals, which help them orient themselves and connect with the space. Production staff value the system’s reliability and efficiency. And audiences often comment on how immersed and transported they feel to Wonka’s world.”
With multiple Tony wins and Olivier nominations associated with its broader production history, Charlie and the Chocolate Factory continues to evolve technically and artistically. For its global tour, the INFiLED AR Series has proven to be more than a backdrop. It’s an integral part of the storytelling fabric, delivering scale, clarity and a renewed sense of wonder to every city it visits.
Photo Credit: Produced by Broadway International Group // Photo by Yingzhou
About INFiLED
INFiLED is a leading high-tech enterprise specialising in developing and manufacturing large LED displays. INFiLED aims to collaborate with customers to design high-performance solutions adapted to their needs in all kinds of applications, including rental, corporate, control rooms, retail, outdoor, xR, and virtual production. With installations in over 87 countries and over 200 patents – one of the highest numbers in the industry – INFiLED has become a top brand of LED screen manufacturing, offering high-end LED display solutions for building immersive and realistic content and enhancing the visual experience of customers.
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