Pictured above the upgraded Concert Hall.

Unveiling the thought process behind a monumental transformation.

Few buildings in Singapore are as instantly recognisable as the Esplanade – Theatres on the Bay. With its distinctive twin shells gleaming by Marina Bay, Esplanade has stood as a national performing arts icon since its opening in 2002. Over the past two decades, it has hosted more than 62,000 performances and activities, attracting 41 million patrons and over 132 million visitors.

But behind the scenes of this creative powerhouse, another performance was taking place — one that played out not on stage, but deep within the walls and cables of its performance venues. Esplanade’s journey from analogue to digital was a transformation years in the making, marked by strategic foresight, technical precision, and a deep respect for the arts centre’s legacy.

A Transformation Years in the Making

When Esplanade first opened, its AV infrastructure represented the best analogue technology of the time. But two decades later, the team knew it was time to embrace the digital age.

“This was a major undertaking,” recalled Kenny Wong, Head, Technical Production, The Esplanade Co Ltd, who led the transformation. “The discussion and planning started before 2020. The COVID-19 pandemic delayed the process, and the full implementation was completed only recently.”

The upgrade touched nearly every corner of the arts centre — from the large venues Theatre and Concert Hall, to the smaller venues Recital Studio and the Theatre Studio — with sweeping changes including:

• Replacing analogue AV cabling with a centre-wide digital network using fibre-optic and CAT6 infrastructure across all the spaces.

• Switching tungsten houselights to LED systems.

• Upgrading stage lighting to modern LED fixtures from leading manufacturers.

• Replacing traditional dimmers with relays.

• Installing new loudspeaker systems in the Theatre, Concert Hall and Recital Studio.

• Creating two purpose-built media suites for recording, streaming, and broadcast.

Expert Guidance and Collaboration

To guide this massive transition, Esplanade enlisted Theatreplan, a UK-based theatre consultancy known for helping the Sydney Opera House modernise its AV systems.

“Their prior experience gave us great confidence,” said Kenny. “Alongside Theatreplan, we worked with a general contractor overseeing coordination, AV specialist integrator Electronics & Engineering Pte Ltd, and lighting specialist Desisti. Every organisation involved did a marvellous job. It was a challenging project, but the transformation was nearly seamless.”

Challenges Beneath the Surface

Behind the elegant execution lay a web of complex challenges. “Our existing blueprints were old,” Kenny explained. “Over the years, there had been incremental updates that weren’t reflected in the drawings. This made mapping the cabling infrastructure — the backbone of our new digital network — time-consuming.”

Space was another constraint. “This wasn’t just a space refurbishment, it’s a complete technical infrastructure upgrade. We had to ensure every new piece of equipment fit within the existing physical footprint,” Kenny added.

And then, there was the matter of keeping the show running. “We couldn’t close the entire centre. Each venue had to be upgraded within a fixed time window to avoid disrupting ongoing programmes. It was a race against time — every time.”

The roll-out was staged progressively:

• Recital Studio and Theatre Studio – completed in 2024.

• Concert Hall – completed in March 2025.

• Theatre – completed in October 2025.

Lighting the Future

Lighting was a key focus area. For houselights, GDS/Coemar was selected for its ability to use existing power cables for both electricity and data. “That was a huge advantage,” said Kenny. “It saved us significant time since we didn’t need to replace the cabling.”

When it came to stage lights, data drove decisions. “We know what features matter from the riders we handle,” Kenny explained. “But product lifecycles are short, so we waited until closer to the installation to get the latest fixtures. The manufacturers were very transparent about availability, which helped us stay on schedule.”

Interestingly, Followspots were not replaced. “The fixtures are still within their life span and have seen minimal use, so there was no need to change them yet to LEDs. Perhaps in the next two to three years,” said Kenny.

For power control, Zero88’s RIGSWITCH 24 was deployed in the Recital Studio and Theatre Studio, while LSC UNITY USM12/16 units powered the main Theatre and Concert Hall. “Theatreplan recommended these systems, because they met our specs well — and fit the existing space.”

Sound That Resonates

Esplanade’s reputation for pristine acoustics meant any audio upgrade had to meet the highest standards. A single tender was called for the venues.

The Theatre Studio, already equipped with an L-Acoustics system, was left unchanged. For the other venues, d&b audiotechnik took the spotlight — with the SL Series in the Theatre, KSL Series in the Concert Hall, and Y Series in the Recital Studio.

“Our biggest constraints were the fixed hanging points and limited space,” said Kenny. “The d&b systems met all our performance specs and fit within those limits. The service support was also good — and the sound quality, without question, took a leap forward.”

Creating Media Suites for a New Era

The pandemic years highlighted the importance of digital engagement. “Since we were already investing in a digital network, it made sense to create two dedicated media suites — one for audio, one for video,” explained Kenny.

Both suites are equipped with basic equipment for professional recording, mixing, and streaming. The audio suite even includes a purpose-built sound booth — a prefabricated model purchased to save time and cost.

“Our in-house inventory is deliberately lean,” said Kenny. “For larger productions, we can bring in external partners. But now, all the necessary connectivity and infrastructure are permanently in place.”

Beyond Technology: Towards Sustainability

Esplanade’s digital shift in technical production isn’t just about better sound and lighting — it’s also about sustainability. The move to LED and networked systems has significantly reduced power consumption and increased scalability for future needs.

“This transformation was monumental,” reflected Kenny. “We managed to modernise without disrupting performances or altering the venue’s character. It was only possible because of the teamwork, professionalism, and shared vision of everyone involved. I’m proud to have been part of this journey.”

A Digital Future for a Cultural Icon

Esplanade’s story is a reminder that innovation in the arts doesn’t just happen on stage. It also happens in the control rooms, cabling ducts, and racks of equipment that bring each performance to life.

From analogue beginnings to digital excellence, Esplanade continues to evolve — not just preserving its legacy, but enhancing it for generations to come.

The NEW Equipment List

THEATRE

LIGHTING

POWER CONTROL

• LSC UNITY, USM12/16 (16A switch module)

FOH PROFILES

• ROBERT JULIAT Bizet 670SX 11° to 26°
• ROBERT JULIAT Bizet 670SX 11° to 26°
• ETC Source Four LED Series 3, Lustr X8 36°

PROFILES

• ETC Source Four LED Series 3, Lustr X8 19°
• ETC Source Four LED Series 3, Lustr X8 26°
• ETC Source Four LED Series 3, Lustr X8 36°
• ETC Source Four LED Series 3, Lustr X8 50°

FRESNELS

• Robe T15 10° to 72°

ADJUSTABLE-BEAM PARS

• VariLite VL800 Eventpar RGBW 10°/15°/20°/25°/30°

FLOOD LIGHTS

• ROBE Footsie 2 (Slim)
• Robert Juliat Dalis 860 CYC

MOVING LIGHTS

• Robe Robin T2 Profile 5° – 55°
• Robe Robin T2 PC 6° – 62°

SOUND

LOUDSPEAKER SYSTEM – d&b

• Main Cluster (Left) – XSL8
• Centre Cluster – XSL8 & XSL12
• Main Cluster (Right) – XSL8
• Proscenium Left & Right – E10
• Stalls Left & Right – 12S & Y-Sub
• Front Fills – E6
• Ground Stacks – XLS12 & SL-Sub
• Delay Fills – 44S, E6, 5S.
• Surrounds – 44S
• Stage Monitors – M4
• Stage Fills – E12
• Power Amps – D80, 40D, 30D & 10D

CONCERT HALL

LIGHTING

POWER CONTROL

• LSC UNITY, USM12/16 (16A switch module)

PROFILES

• ROBERT JULIAT Sully T/650 DSX 4C (614SX), ZOOM 16° to 35°
• ETC Source Four LED Series 3 Lustr X8, 36°
• ETC Source Four LED Series 3 Lustr X8, 10°
• ETC Source Four LED Series 3 Lustr X8, 5°

FIXED-BEAM PARS / ORCHESTRA DOWNLIGHTS

• Chauvet Ovation Rêve P-3 IP

MOVING LIGHTS

• Chauvet Maverick Silens 2X Profile, 5° to 58°
• Ayrton Veloce Profile, 4° to 52°
• Ayrton Veloce Wash, 4° to 57°
• Ayrton Veloce Profile
• Ayrton Veloce Wash
• Chauvet Maverick Silens 2X Profile

SOUND

LOUDSPEAKER SYSTEM – d&b

• Cluster Left & Right – KSL8 & KSL12
• Cluster Centre – XSL8 & XSL12
• Stalls Fills Left & Right – AL60 & 44S
• Balcony – 44A
• Front Fills – 44S
• OutFills – AL60
• Ground Stacks – XSL12 & SL-Sub
• Power Amps – 40D & 30D

RECITAL STUDIO

LIGHTING

POWER CONTROL

• RIGSWITCH 24 (230V) 10 amps

PROFILES

• ETC Source4 LED Series3 LUSTR X8, 26deg,
• ETC Source4 LED Series3 LUSTR X8, 36deg,
• ETC Source4 LED Series3 LUSTR X8, 50deg.

MOVING LIGHTS

• Ayrton Argo 6 Was
• Aryton Rivale Profile
• Chauvet Pro Maverick Silens 2 Profile

FIXED-BEAM PARS

• Chauvet Ovation Reve P-3 IP Par,

FOLLOWSPOTS

• ETC Source 4, LED Series 3 LUSTR X8, 19° fixed lens

SOUND

LOUDSPEAKER SYSTEM – d&b

• Main Cluster – Y8 & Y12
• Out Fills – Y7P
• Ground Stack – V10P & V- GSubs
• Stage Monitors – M4
• Power Amps – 40D

THEATRE STUDIO

LIGHTING

POWER CONTROL

• RIGSWITCH 24 (230V) 10 amps

PROFILES

• ETC Source4 LED Series3 LUSTR X8 19deg
• ETC Source4 LED Series3 LUSTR X8 26deg
• ETC Source4 LED Series3 LUSTR X8 36deg

FRESNELS

• Robert Juliat 315LF Sully 4C

ADJUSTABLE-BEAM PARS

• VariLite VL800 Eventpar RGBW 10°/15°/20°/25°/30°

FLOODLIGHTS

• ROBE Footsie 1 RGBCW (slim) Asym Field Angle 55° by 50°
• ROBE Footsie 2 RGBCW (slim) Asym Field Angle 55° by 50°
• ROBE T32 CYC RGBBAL (slim) Asym Field Angle 85° by 45°

MOVING LIGHTS

• ROBE Painte (Zoom lens, 8° to 48°)
• ROBE Painte Fresnel (Zoom lens, 6° to 50°)