the light princess
the light princess
"Matthew Robins' black and white animations are fun"  Lyn Gardner, The Guardian.
The Light Princess, a new musical written by Tori Amos and Samuel Adamson, opened at the National Theatre in London October 2013.  
I made papercut stop-motion animations that were projected during the show - some were like moving scenery, others were little Saturday morning cartoons - and I also drew some projected backgrounds - skies and scenery, flying birds.  The show was designed by Rae Smith and directed by Marianne Elliot.  I had a lot of help from Emma Pile and Lawrence Rowell to make the films.  Here are some of my sketches and storyboards.
  
These are some stills from the finished Prologue animation.  click to enlarge.
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Early animation tests for Queen Material.  click to enlarge, and scroll down the page to see some pictures of the final version.  
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Here are some sketches and early storyboard ideas for The Prologue.  click to enlarge.  
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This is my initial storyboard for The Prologue.  As the song became shorter some of these scenes got chopped out.  click to enlarge.  
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I made some video diaries for the first few weeks while I was working on the animations.  These are probably the bits I enjoyed doing the most, it's complicated working on a big project like this if you're not very far up the ladder, so it's a useful way to generate new work and deal with some of the negative feelings that float around on things like this.  After a while it all just got a bit too full time animating and re-animating new scenes to try to keep up with the script and costume changes so I didn't have the time to record any more entries.   
Here are some photos of The Prologue from the live show, projected on-stage as a stop-motion paper-cut-out cartoon at the start of the show.
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These are photos from My Fairy Story, a trompe l'oeil animation creating the scene through the window in Althea's bedroom, and this slowly develops into her imagination coming to life as she sings.

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Queen Material:  this animation filled the entire stage as a travelling landscape - something like a car chase in 1950s b-movies, the actors and the car moved on the spot while the animation creates their journey
as they travel from Althea's bedroom, through the palace, out into the desert and in the forest.  
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