The run of world-first ballet Gustavia is in full swing at the Swedish Opera House, shining a new light on the largely untold 18th story of Gustav Badin. The Swedish talent quite literally shining the light is visionary designer Tobias Rylander – who has worked with the likes of Beyoncé, FKA Twigs, Loreen and The 1975. Here, Rylander reflects on his collaborative Gustavia experience with other creative heavyweights, merging cutting-edge technology and artistic brilliance to bring the unique narrative to the stage.
Setting *Gustavia *at the Royal Palace and the historic Drottningholm Theatre allowed us to break from conventional lighting techniques, embracing a broader, more immersive stage layout. Traditional single-point lighting gave way to a set-up that enabled a wider range of expressive movement. This reimagined stage design inspired me to experiment with lighting sourced from balconies and overhead, creating a dynamic interplay that accentuates the choreography while honouring the palace’s historic charm.
The lighting design plays a crucial role in mirroring the choreography, crafting a space that is both grand and intimate. This approach emphasises the contrast between Gustav Badin and Gustav III in the ballet's narrative, inviting the audience to experience a nuanced balance of opulence and restraint that echoes the complex relationship between the two brothers within their regal, yet confined, world.
Meanwhile, the video content designed for Gustavia enhances the set and story, weaving scenic and dramatic elements through projections and screens. Drawing on techniques I developed with The 1975, we incorporated live camera feeds and interactive projections, introducing layers of depth and motion that resonate with the emotional arc of the ballet.
Working alongside Amir [Chamdin, Gustavia's writer and director] was a joy. We go back more than 20 years, to my early days touring Scandinavia with Swedish rock band The Helicopters, where Amir, their video director, and I collaborated on several music videos. Reuniting for Gustavia felt like a full-circle moment. Having designed the lighting for Cinderella here three years ago, I was thrilled to return, especially in such a strong collaboration.
This long-standing partnership with Amir brought a unique synergy to Gustavia, enriching the visual narrative of the performance. Together with Pär Isberg’s choreography, Cinzia Lo Fazio’s scenography, and Selam Fessahaye’s costume design, we have pushed the boundaries of ballet, blending history with innovation.
Returning to this esteemed institution was incredibly fulfilling. Working with the opera’s in-house resources sparked creativity, as our design largely relied on the equipment available, resulting in innovative solutions. Cinzia, our set designer, suggested an LED screen upstage to extend the set, which paired seamlessly with light curtain fixtures. Collaborating with Selam, the costume designer, was equally inspiring; Amir, Selam, and I each brought unique perspectives that infused fresh energy into the production. It was a privilege to work with a team committed to reimagining ballet with a modern edge.
It was a privilege to work with a team committed to reimagining ballet with a modern edge.
Tobias Rylander
Modern ballet now often incorporates pre-visualisation technology, allowing us to set initial lighting cues in a digital environment. With the opera’s pre-visualisation tools, we precisely positioned lighting and tested colour schemes, gaining valuable insights before stepping on stage.
Once we’re on stage, every minute counts – 72 hours is all we have to light the entire ballet. As they say, you “carve stage hours with a gold knife” because they’re so precious. The opera’s talented in-house programming team made this process seamless, adding to a truly rewarding and inspiring experience.