Lighting in musical theatre is never static. It shifts, reacts, and evolves in constant dialogue with the music, the performers, and the story unfolding on stage. For lighting designers Valerio Tiberi and Emanuele Agliati, this dynamic approach is at the core of every production they create.
Long-time collaborators and leading figures in contemporary musical theatre lighting, Valerio and Emanuele rely on ETC’s Eos platform as the central engine of their creative workflow. From the magic of Houdini, one of their latest productions, to other major shows, the console becomes the nerve center of a creative process that combines mathematical precision, narrative fluidity, and complete live control, always in service of the music and the stage. In this exclusive feature, they share their workflow, techniques, and advice for lighting designers.
Valerio Tiberi (left) and Emanuele Agliati (right).
ETC: Valerio, you have a long experience in musicals. What are the specific requirements of this type of show?
Valerio Tiberi: In musicals, lighting is a living organism. It breathes with the music, the performers, and the dramaturgy. It is an art form that requires both precision and the ability to vibrate emotionally and react in real time.
For me, the main requirements are timing, flexibility, and visual memory. Timing is crucial because every cue must hit exactly where the orchestra, the performer’s gesture, or the emotional score demands. Flexibility is essential because this is such a dynamic genre – you need to be able to adjust and correct without interrupting the artistic flow. And visual memory is important because lighting tells the story of the characters. It creates space, defines emotions, and amplifies the energy on stage.
It is a language where technique and poetry must travel at the same rhythm.
ETC: You have been using Eos for years. What is your approach to the console, programming, and live operation?
Valerio Tiberi: Eos allows us to think musically, narratively, and mathematically at the same time. Programming always starts with a clear idea: to create a coherent, ordered, and readable lighting alphabet. We work in palettes – intensity, color, presets – so the show remains solid even when handed over to local crews, or when theatres or conditions change.
Live, Eos gives us complete peace of mind. Every parameter behaves exactly as I imagined. And if we need to react in real time, the console lets us do it without ever losing control.
Emanuele Agliati: In programming, we usually leave local or touring crews a system as “closed” as possible. This reduces errors and simplifies daily operations. We have a main cue that triggers everything supporting the show – fog machines, effects, and backstage systems – using macros or execute commands.
We also create a sequence page called “riga check”. The operator uses it to test all parameters of every fixture before the show. For example, in Houdini, the operator has a “ring check” macro that disables unnecessary cues and activates sequences to test the fixtures. Once this is done, pressing the “on show” macro launches the first show memory. This sets the house lights, activates blue lights and fog machines for audience entry, and turns off any cues not related to the main show.
Dividing presets and palettes by scene helps both programming speed and operator clarity. If someone needs to adjust focus or make corrections, it is quick and logical, even when the show is new. Local crews often thank us for the clarity we leave behind.
ETC: What are the most useful and practical Eos features in live shows?
Valerio Tiberi: For me, Eos is extremely reliable for three main reasons:
Playback clarity: Everything is visible and readable. I never feel like I am working in the dark.
Curve, timing, and part cue management: It allows me to shape light with delicacy.
Stability: Invaluable when a show has hundreds of cues that must run in perfect sync with music and performers.
ETC: Can you give a concrete example using Color Control, like Color Path or Tint?
Valerio Tiberi: In Houdini, where magic has to feel both real and evocative, we often use Color Path to create smooth transitions without jumps. For example, when a scene moves from theatrical to intimate moments, the color path shifts from warm CTO to night blue, passing through a soft lavender.
Tint is used for fine adjustments. It allows us to perfect skin tones or ensure costumes appear exactly as intended under the lights.
ETC: Beyond Color Control, which Eos functions do you use most?
Valerio Tiberi: We use Preset Position a lot to have all fixture positions ready and replicable. We also use Cue Part to create very refined internal cues.
ETC: Have you ever used About Channels or Channel in Use?
Valerio Tiberi: Yes. Emanuele uses them more than me, but they are extremely useful. About gives you a quick view of where a value comes from – cue, palette, or fixture.
Emanuele Agliati: I also use About to check which fixtures are in presets and memories and clean up unused ones. Channel in Use is a lifesaver during programming. It tells you immediately if a channel is already used in a cue, preventing confusion and saving time.
ETC: How do you work with Scenes in the Cue List? Do you monitor the values of upcoming cues?
Valerio Tiberi: Absolutely. I think of cues as a moving score. I don’t just focus on the current cue but also on what comes next. This prevents abrupt transitions or unwanted overlaps and ensures a smooth narrative. Scenes inside the Cue List separate moments of the show according to the script. They bring order.
ETC: How do you use the Magic Sheet in live shows?
Valerio Tiberi: The Magic Sheet is the visual heart of the console. Live, it becomes a map, an aerial view of the show. We make it clean, readable, with coherent colors and symbols. It allows me to act instinctively during complex moments.
Emanuele Agliati: We spend a lot of time setting up snapshots and Magic Sheets. They show fixture positions, colors, intensity, and presets. I dedicate a monitor to Valerio with the full rig and PSD showing cue list and timing. My own Magic Sheet is organized by stage area and fixture usage. I also create buttons to trigger groups of fixtures or macros to speed programming. Keeping it clean and easy to read is essential. Too much information can be distracting.
ETC: Is there anything you would like to see improved or added to the software?
Valerio Tiberi: I would like deeper integration with real-time 3D visualization. Advanced pixel mapping would also help with complex LED sets in contemporary musicals. Finally, an internal version control system for show files would be invaluable. Being able to see the history of changes would make revisions much easier.
Eos allows Valerio Tiberi and Emanuele Agliati to combine artistry and technology, creating a platform where precision, emotion, and creativity meet. For musical theatre lighting designers, it is not just a console – it is a partner in storytelling.
Enjoyed this? Here’s another post you might like: Lighting for musicals with Emanuele Agliati & Oscar Frosio.