At the heart of Toronto Metropolitan University (TMU) stands Chrysalis – a landmark 1,200-seat proscenium theatre housed in the historic Ryerson Theatre in downtown Toronto. As part of The Creative School, which encompasses 27 leading graduate and undergraduate programs in media, communications, and design, Chrysalis is more than a performance space – it serves as a creative incubator. Led by Technical Lead, Scott Martin, alongside Director, Owais Lightwala and Creative Producer, Jasmine Au, Chrysalis is reimagining live entertainment through the integration of emerging technologies and performance techniques.
Mission & Educational Vision
Built on the pillars of innovation and education, its mission focuses on equipping students with the tools and methodologies that will define the next era of the industry. Martin’s role is central to achieving this vision. He oversees the implementation of technology systems and workflows that not only teach students how to use industry-standard tools but also how to apply them meaningfully in live, dynamic contexts. His core philosophy: stay ahead of the curve by continuously asking, What’s next?
One recent project, MONEY exemplified Chrysalis’s approach. The team collaborated with renowned Canadian playwright and performer Rick Miller for a technical workshop on a new theatrical production. While the script was mostly complete, Miller sought to explore and refine specific scenes using lighting, video, and audio technologies before full-scale production.
Over several weeks, Miller and his creative team workshopped the piece on the Chrysalis stage. Together, they tested configurations and technologies to determine what enhanced storytelling and where adjustments were needed. One of the primary tools used in the workshop was BlackTrax, CAST’S real-time tracking system that provides both the technical precision and creative flexibility they were looking for.
BlackTrax Integration: Lighting, Video & Beyond
Setup proved to be intuitive, especially with the support provided by CAST during the initial training. The Chrysalis team then confidently operated the system on their own for the remainder of the multi-week run. As a network-based system, it benefits from a basic understanding of networking and computing. But for users with that foundation, the platform is not only manageable, it’s empowering. The ability to tailor the system to a wide range of creative and technical needs makes it an incredibly valuable tool for both education and live performance.
Aidan Ware, the Lighting Designer and Technical Director for MONEY, was instrumental in achieving the BlackTrax integration. A graduate of the University of Alberta’s BFA Technical Theatre program, Aidan has worked with leading organizations like Solotech, Moment Factory, TIFA, TO Live, and Canadian Stage. His previous collaborations with Kidoons/WYRD-BOOM X, BOOM YZ, and HANS: My Life in Fairy Tales – laid the foundation for the innovative approach he brought to MONEY.
In one of the initial configurations, Aidan and the Chrysalis team integrated BlackTrax with their DMX lighting system. Eight actors were each equipped with trackers, enabling real-time lighting adjustments based on movement. This was particularly important given the close interplay between lighting and video projections. By dynamically tracking actors, the system helped reduce projection washout and ensured that visuals remained crisp, on both screens and physical set pieces.
Additionally, BlackTrax fed live positional data into the video system. Although time constraints limited full projection integration, the team leveraged live-tracked camera feeds to create dynamic visual effects, such as simulating TikTok-style social media moments onstage. The tracking eliminated the need for manually coordinated camera movements and ensured seamless transitions even as performances evolved throughout the workshop. This flexibility allowed the creative team to focus on storytelling rather than technical recalibration, which is essential in a fast-paced, exploratory environment.
BlackTrax & the Essence of Live Performance
The real challenge, and magic, of live performance is making it feel live. For Martin and his team, the COVID-19 pandemic challenged traditional ideas of what constitutes a “live” experience. As theatres turned to pre-recorded content and virtual platforms, Chrysalis reaffirmed its belief in real-time, in-person performance.
It’s not just about replicating the same show every night. It’s about embracing the spontaneity and change that come with live performance. And that’s where BlackTrax really shines. Unlike static follow spots or rigidly pre-programmed lighting cues, BlackTrax adapts to performer movement dynamically. This frees actors to focus on their craft, not on hitting marks. It also allows for spontaneous variation, a hallmark of live performance.
Fostering Innovation Through Partnership
Chrysalis’s collaboration with CAST has evolved organically over the years, driven by a shared commitment to innovation in live performance technology. Many alumni who began their careers exploring projection technologies have since moved into roles that integrate BlackTrax, particularly in concert touring and large-scale productions. Some of these alumni, including industry expert Nicholas Lau, have returned to campus to share their professional journeys, mentor students, and guest lecture in system design and projection courses.
The impact has extended beyond the performance program. In the New Media department, for instance, students familiar with small-scale motion capture for screen-based projects are now exploring the possibilities of full-volume tracking systems. The introduction of BlackTrax has opened doors to interdisciplinary collaboration and inspired new creative workflows.
This partnership exemplifies how industry and academia can come together to shape the future of performance. Through workshops, research initiatives, and real-world training, BlackTrax is empowering the next generation of artists and technologists with the tools they need to innovate and create without limits.
