Collaborating closely with scenic and engineering specialists Scott Fleary, we co-developed a fully modular floor-track system to realise 13 belt-driven tracks. Each track was designed around a common design which enabled consistent assembly, simplified maintenance, and shared components across the system.

The tracks utilised a self aligning ‘V’ belt, reducing the requirement for time consuming belt tracking. With varied lengths across the show deck, the modular design allowed each unit to be easily adapted without re-engineering.

Throughout development, we conducted multiple off-site testing sessions at Scott Fleary’s workshops to validate the mechanical design and ensure the final system would perform flawlessly.

Hidden beneath the forestage, in the orchestra pit, a custom lift (engineered by Scott Fleary) was powered by two of our high-speed, long-stroke roller linear actuators. These provided smooth, precise vertical motion for the Balcony Railing, enabling its elegant rapid emergence into the playing space.

In partnership with Bay Productions, we supported the delivery and integration of Triple E chain-track and chain-beam technology for 4 custom corner-masking systems and a completely bespoke 2 axis slider truss (with a secondary track for cable management).

The L-shaped masking units were designed to maximise concealment in extremely high-traffic wing spaces, maintaining sightline control while accommodating fast scenic transitions. By automating the masking, wing exposure could be precisely controlled and timed, opening only for specific scenic cues and performer movements.

A key visual centrepiece of the production was a 2 independent LED sliding panels. Working with Pashley Theatrical Services and Bay Productions, we helped design the custom truss assembly, which was thoroughly tested prior to arrival on site in order to validate the criteria set by Production Manager, Lloyd Thomas.

Operating at speeds up to 1 m/s, the sliders enabled dynamic scene transitions, shifting the audience’s focus across the stage with fluid precision. Through our high-resolution position output (running at 120 Hz), the video team were able to synchronise media content with the panel’s motion, creating the illusion that the LED panels were sliding across a static digital landscape, effectively turning them into moving “windows” within the scenic environment.

Triple E’s chain-beam technology ensured exceptional positional stability with minimal backlash, which was essential for maintaining precise mechanical and video alignment at speed.

We supplied 7 RoRo Winches configured for counterweight-assist operation (link). Under the guidance of Dramatix Stage Engineering, these were mounted to custom steel assemblies integrated into the historic Coliseum flying system.

Automated flying allowed heavier scenic elements to move with high dynamic accuracy, enabling rapid accelerations, consistent tracking, and repeatable cueing. As with the floor and slider systems, we provided realtime positional data to the video department, allowing projection content to be mapped directly to flying scenic items, seamlessly blending automation and digital media throughout the production.

To complement the motion-tracking system, we deployed our standalone tracking system (link) with 7 wire draw encoders mounted to manually operated flown elements. These were further integrated into the main control system to allow for precise cue coordination between automated and manual flown elements. This enabled full positional awareness for scenic items not directly controlled by our automation systems.

With data output at 120 Hz, the video team could accurately synchronise media content to the movement of both automated and manual elements, maintaining precise alignment even during fast transitions.

Additional encoders were installed on the flown LED wall to allow video content to be positionally offset to its own physical motion, ensuring the content remained perfectly locked during automated moves.

We also supplied the on-site installation labour needed to fit and commission all equipment, in addition to consulting, system design and the full automation package. In close collaboration with the creative team, our programmer translated the designers’ ideas into fully cueable motion sequences that could be plotted, polished, and performed via our console. As a result, the production’s ambitious storytelling was supported by a highly coordinated, dependable, and aesthetically pleasing automation system that upheld the highest standards of performance and safety throughout its run.

Absolute Motion Control’s ability to combine intricate scenic automation with cutting-edge tracking technology into a single, seamless production is exemplified by The Great Gatsby.