"Every moment on stage should be literal, abstract and poetic simultaneously," says Finn Ross, founder and creative director of UK-based studio, FRAY, whose work in stage design for live entertainment is changing the way stories are told. This philosophy underpins Ross' approach to his craft, where each production transforms into a unique visual experience. His journey into the world of video design is a testament to how passion, adaptability and a keen sense of narrative can shape an artist's path.

Ross' foray into video design began rather unconventionally with little awareness of what the discipline entailed. “I only had a basic understanding of roles like actor, director and stage manager," he recalls. Video design was not yet recognised as a distinct discipline. His academic years were spent exploring, directing, producing and dramaturgy, but none of these roles felt like the right fit. “Directing didn’t resonate with me. I wanted to be closer to the creative process, in the room where the show was made,” he explains.

After graduating, Ross spent some time working in lighting, where he began to notice the emerging overlap between lighting and video control systems. It was around 2003 that he shifted his focus to video design, drawn to its potential for growth in an evolving technological landscape. Unlike lighting tools, which had remained relatively unchanged, video technology was on the cusp of a revolution. This evolution sparked his interest in the creative possibilities of video design, leading him to assist other designers and gradually find his own voice.

With a career that spans productions worldwide from Broadway to the West End theatre, Ross has honed his understanding of what makes video design truly impactful in live entertainment. He emphasises the necessity of a deep connection to the story being told on stage. For the designer, the video must be seamlessly woven into the fabric of the production, serving as an actor in its own right. This connection allows the video to explore the inner worlds of characters, visually expressing their opinions and motivations. For Ross, this represents the essence of his work. He critiques superficial visuals, noting, “If the video is just clouds and fire, it's not engaging.” The goal, he insists, is to explore the depths of the character’s emotional landscape.

Working on visual elements for West End productions brings both excitement and challenges. Ross acknowledges to STIR the weight of expectations that come with these renowned stages but maintains that the audience's experience remains paramount. “I keep the audience at the forefront when designing a show,” he says. His work on a musical about tele-evangelist Tammy Faye Bakker exemplifies this approach. Originally developed in a small London theatre, the production is transitioning to a refurbished theatre in New York. Ross focuses on the importance of keeping the story central, no matter the venue. “You have to treat the audience with intelligence and respect while also creating something you would want to see,” he explains.

Reflecting on his works, the visual designer mentions The Curious Incident of the Dog in the Night-Time as one of the most rewarding shows he worked on. The production started at the National Theatre with a round setup, using projection solely on the floor. Transforming it for the West End presented a significant challenge. The show garnered a following, touring globally and marking a pivotal moment in his career. The process taught him the importance of flexibility in design, as he had to adapt his vision to different spaces while ensuring the core narrative remained intact.

Another noteworthy production is Back to the Future: The Musical, where Ross was tasked with creating an engaging experience for both diehard fans and newcomers. “The audience arrives eager for a good time,” he recalls and it was rewarding to create a show that met those expectations. The ongoing success of Harry Potter and the Cursed Child was also a defining moment; the first audible gasp from the audience when the show started affirmed that they were in for something special. This experience further fuelled his passion for crafting visuals that resonate deeply with viewers, highlighting the transformative power of video design in live theatre.

Taking productions from the West End to Broadway can often be tricky, particularly in adapting to different cultural contexts. Ross felt the weight of this responsibility while adapting Back to the Future for a US audience. “I was nervous about representing American experiences with an entirely British design team,” he admits. Authenticity in cultural references was crucial. The adaptation benefited from fidelity to the original film, enabling the creative team to convey the world effectively. The New York theatre's wider but lower stage allowed for a more cinematic feel, enhancing the filmic sequences. Ross reflects on the gratifying experience of seeing the show run successfully in a new context, where the audience embraced the familiar yet fresh approach to storytelling.

It’s the audience who is going to come into that venue that I am sort of working to lift, distract, divert, educate, entertain and show a different side of.

Ross’ versatility extends beyond theatre into the world of live music, where his recent work on Taiwanese band Sodagreen’s tour demonstrates his ability to craft visually immersive experiences. The tour’s visuals took inspiration from the changing seasons, symbolising the band’s evolving journey. Collaborating closely with the creative director, he developed visuals for each song based on extensive referencing, distilling concepts into evocative style frames. “We explored various ideas for what each season could look like, crafting a distinct atmosphere for each performance,” Ross shares. The integration of live camera feeds into the content was also crucial, blending visuals seamlessly with the stage lighting to create a unified experience. The result was a carefully curated, layered design that evolved throughout the performance, reflecting the band’s growth and musical progression.

When STIR asked how the differing energies between live music and plays influence his creative approach, Ross highlighted that theatre design is about creating a consistent flow while, in pop shows, numerous ideas must be developed to match multiple songs within a single concept. He describes the process for live music as almost mystical, where images begin to flow, requiring flexibility and adaptability. For him, navigating the balance between innovation and maintaining the integrity of established shows requires careful consideration. “I like to start from a clean slate for new ideas, even within the established framework of a long-running show,”he notes. For him, closely collaborating with directors, set designers and lighting designers is essential in creating a dynamic and engaging theatrical experience, ensuring that each production remains relevant and exciting.

The production designer approaches storytelling through video by establishing a set of guiding principles that help shape his work without being overly restrictive. “I look for rules that can govern the process, but not in the way that limits creativity”, he explains. He analyses what the video can effectively convey, whether delivering humour, setting the scene, or exploring a character’s inner thoughts. The British designer navigates the process by grounding the story in reality, translating it into a theatrical language and then adding beauty. “Some shows come together quickly, while others take longer, but I have learned to trust the process and not rush it”.

With technology evolving rapidly, Ross has embraced tools like Notch to elevate his video design work. The real-time compositing software has transformed the way he creates visuals, making them a more dynamic and central element of a live performance. “It’s not new, but it keeps getting better”, he says, describing how it moves video away from static screens into the heart of the performance. Looking ahead the designer envisions a future where video evolves alongside performers, highlighting the possibility for a more integrated and engaging experience. These advancements promise greater creativity while remaining accessible to artists, allowing for innovative storytelling methods. Ross' forward-thinking mindset places him at the forefront of video design, where he constantly seeks to redefine what is possible in the intersection of art and technology.

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