Our company’s roots are in theatre – so much so that our founder began his career as an apprentice in a scenic carpentry shop. Through time, no company has done more than PRG to expand the role technology plays in fostering creative excellence on stage, in theatre, ranging from Broadway to regional and national tours. Additionally, there is no segment where our proprietary innovations -scenic automation, lighting, networking and video - have had a greater impact.
American Theatre Wing’s Lighting Master Class taught by Tony award-winner Natasha Katz and streamed from PRG's Digital Studio in NJ.
- PRG provided lighting, audio, scenic and automation.
- To facilitate positioning on the balcony rail, PRG customized GroundControl™ Followspot System to accept Robe Robin T1 fixtures.
- Audio system included innovative d&b Soundscape with spatial audio and object-based mixing.
- Automation control, including movement up/downstage plus 90° rotation of 10’ high x 30’ wide wall, via PRG Stage Command® System.
- Scenic design by Arnulfo Maldonado , lighting design by Jen Schriever, sound design by Drew Levy.
- Click here to read the article.
- PRG provided lighting, scenic and automation.
- Set included pivoting side stage window walls made of glass, 30’ high x 4’ wide.
- Lighting embedded in scenic pieces.
- Lighting effects transport the audience from the present to the past.
- Scenic design by Derek McLane, Lighting design by Natasha Katz.
- Click here to read the MJ article.
- Collaborated with lighting designer, Tim Deiling to realize a creative vision influenced by pop divas such as Beyonce, Rihanna, Katy Perry, Ariana Grande, Alicia Keys, and Adele.
- PRG’s Longthrow™ Luminaire, Best Boy® HP and Mbox® media server were used in innovative ways to provide a concert feel, flexibility and control.
- First Broadway show to ever use Longthrow Luminaires and employ Followspot Controller Handles.
- Read the full article here.
Hamilton on Disney+
- PRG provided lighting and audio for the Broadway production.
- In the first 30 days of streaming, it had the largest audience of any program across subscription platforms including Netflix, Apple TV and HBO Max.
- In addition to the Broadway and filmed versions, PRG has supported the US tours and the production in London’s West End.
Come from Away on Apple TV
- Filmed during the pandemic before a socially-distanced audience of frontline workers and 9/11 survivors.
- Debuted on Apple TV on the 20th anniversary of 9/11.
- PRG provided lighting and scenic for the Broadway production.
- PRG has also supported multiple tours and the production in London’s West End.
- A box-office hit on Broadway, it earned its investment back in less than 10 months.
- For the Tokyo production, which opened during the pandemic, the lighting tech included a remote system that allowed lighting designer, Ken Billington, to remain in his NYC studio while programmer Rob Halliday, attended from London (learn more here).
- PRG provided lighting, audio and scenic for the Broadway production and the tour.
The Band's Visit Tour
- Sound designer Kai Harada relied on Meyer loudspeakers to achieve both intimacy and power.
- Lighting designer Tyler Micoleau incorporated lighting fixtures on moving tracks to create shadows and convey the passage of time.
- PRG provided lighting, audio and scenic services for both the Broadway production and the tour.
- Lighting designer Don Holder incorporated PRG’s Best Boy fixtures, which he described as “the most important tool in my arsenal.”
- Sound designer Peter Hylenski was nominated for a Drama Desk Award for his work on the show which features lush orchestrations and clean, clear vocals.
- PRG provided lighting and audio
In Residence On Broadway
- A wide range of artists participated, including Morrissey, Dave Chapelle, Barry Manilow, Mel Brooks and Criss Angel.
- PRG was contracted to deliver a full audio, video, lighting and rigging solution, utilizing its proprietary FlexiFest® system.
- Producers were able to book acts back-to-back due to quick change-overs.
- With FlexiFest®, there was no need to dismantle the existing set-up and install a new one for the incoming artist to reconfigure.
- Each artist was able to achieve a custom look – no two shows were the same.
- Overall labor needs were dramatically reduced.
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