The House of Dancing Water: A Legend Reimagined

Just when you think you’ve seen it all, something comes along and completely redefines the brief.

The House of Dancing Water is one of those rare legends: a show that’s achieved almost mythical status in the live event world. For years, it pushed boundaries most productions, even now, wouldn't dare approach, combining acrobatics, aerial performance, high diving, and astonishing engineering into something unforgettable.

To have played even a small part in its latest evolution has been a genuine privilege. Yes, the technical complexity was enormous - but what stayed with us most was the sheer commitment of the people. Cast and crew alike, their discipline, focus and passion are extraordinary. Watching them work, day after day, was humbling.

“Every day we overcome the seemingly impossible.” – Will Harkin

Why Projection Mattered So Much

Industrial Projection was brought in to provide projection consultancy for the show’s newly upgraded video system - a brilliant example of why detailed studies matter so much in a high-stakes, high-spec environment. When you're specifying major kit, with long lead times, for a remote location, there’s no margin for error. Every decision needs to be right the first time.

We’re incredibly grateful to OLC for trusting us with this challenge, and especially to Ed Moore and Nico Degonon, whose commitment, resilience and humour made the whole process not just possible, but genuinely rewarding.

So What Made This So Complex?

The Scale

The sheer size of the installation is hard to describe. It felt more like working on an offshore rig than a theatre show. Everything is bespoke. Everything is large. Some set pieces - like the 25-tonne boat that drives underwater - look more like space tech than theatre. Add in motorbike jumps, flying cages, Russian swings, an emerging bridge and a moving pagoda, and you get a sense of the scale - and the projection complexity.

The Surfaces

• The Mondo: The main projection surface is the stage itself, made of vast lifts that travel from the bottom of a 9m-deep pool to a metre above the waterline. It’s not just a moving surface - it’s a constantly reconfiguring one.

• The Backdrop: A rare treat - a large, purpose-made projection screen. But even here, quirks abound: it’s curved, flies in and out, and is tensioned in ways that introduce unpredictable bends and flex.

• The Panels: Two fixed side panels, and three that fly in and out mid-show. The study here was a geometry puzzle - finding projector positions and lens options that could hit all five without one blocking the light path of another.

• The Hanky: A single, fleeting moment: a translucent gauze that flies in for a dramatic effect and disappears again almost as quickly. Visually stunning, technically challenging. Worth it.

Environmental Realities

Water is a constant presence - and an active threat. Anyone who’s ever worked in live AV knows electronics and humidity are uneasy allies. Add chlorinated air into the mix and you're operating in one of the harshest environments for projection gear. Every part of the spec had to account for durability, heat, and water resistance as well as performance.

Technical Constraints

• Throw Distances: Many projector locations were non-negotiable, meaning lens choice had to be razor-precise, tolerances within millimetres.

• Ambient Light: The projections needed to shine through intense lighting scenes without being overpowered. Collaborative calibration of projection and lighting can deliver a whole much greater than the sum of their individual parts. Brightness, contrast, and coordination were all carefully tuned.

• Shifting Geometry: With so many elements in constant motion, automation-aware mapping and clever spatial thinking were essential. It’s not just about aligning pixels, it’s about predicting how everything will move, interact, and look from every seat in the house.

A New Chapter

This latest reimagining of The House of Dancing Water features a major video upgrade, including ultra-bright laser projectors. Subtle but important changes we introduced to projector orientation enabled a significant boost in image clarity and resolution. We could write pages more and still not capture it all - from the underwater choreography to the awe-inspiring physicality of the cast. This is a show that lives in the details. If you ever find yourself in Macau or Hong Kong, go. Make the trip. You won’t forget it.

To everyone involved - thank you. For your trust, your brilliance, and the reminder that live performance, at its best, is pure magic.