Light Cycles at Illuminate Adelaide extended for 2 weeks

Reading Time: 6 minutes

Light Cycles is an immersive light and sound installation currently on show at the Illuminate Adelaide Festival, and extended ’til 14 August. The installation is created by Moment Factory, a Canadian multimedia studio specialising in the conception and production of immersive environments. Since its inception in 2001, Moment Factory has created more than 500 unique projects worldwide, including the Lumina Night Walk series. Productions span the globe and include such clients as Changi Airport, Notre-Dame Basilica of Montreal, Disney, Arcade Fire, Microsoft, Sony, Boston Museum of Science, Madonna, Cipriani, Universal Studios, the Toronto Zoo and the Reims Cathedral. We had a chat to Mathieu Grainger of Moment Factory about Light Cycles at Illuminate Adelaide.

Light Cycles

You made your Australian debut with Light Cycles in Adelaide last July and are bringing the experience back this Australian Winter. Are you coming to Australia for the install? 

Several of Moment Factory’s team members have made the trip to Adelaide for the install of Light Cycles, including the technical director, lead motion designer, musical director, as well as our Creative Director and Producer.  As our team generally work nights during the installation, we also have a team supporting from Montreal.


Light Cycles is said to be “grounded in the exploration of the human relationship to nature”. How is that so?

Inspired by the scientific principles of natural phenomena, our approach uses light and projection to amplify nature, in turn creating an immersive, illuminating experience.

The experience draws inspiration from the beauty and energy of nature, embodied by the garden itself.

Drawing from nature’s secret rhythms and its ability to communicate in unique ways, music plays an integral role in uniting the site, evoking a sense of natural energy and light travelling across the garden.

Light Cycles

What can Adelaide audiences expect from Light Cycles?

Visitors will walk across the Botanic Garden Pathway, engaging with a unique sensory experience made of seven immersive installations that encourage them to connect with the site and the experience in various ways.


Who is Light Cycles for?

Light Cycles is designed for the entire family; children and adults will experience and connect with the enhanced natural environment in various ways that inspire a renewed appreciation and fresh perspective on nature.


Do you prefer working for artists/doing work in public spaces in terms of the freedom of creativity?

Our motto is We Do It In Public. In fact, the public really is what’s most important for us, no matter the canvas.

Our multimedia, immersive experiences pioneer forms of entertainment that offer them new forms of entertainment. Whether at a concert, in a public garden or across an urban square, we aim to inspire a sense of collective wonder and connection.


What has been your career highlight?

Gabriel Pontbriand: As a lighting designer, I worked for years in clubs, arenas and theatres. Then roughly 10 years ago, Moment Factory was approached to work on an outdoor illumination project in a beautiful provincial park in the Eastern Townships of Quebec, Canada.  Our team was immediately inspired by this natural environment that presented us with a very rich canvas on which to work.  Within a few months, we had created our first ever enchanted multimedia night walk, a project aptly named, Foresta Lumina. This was a defining moment for me as lighting designer and creative director, as it instantly shifted my perspective on how we can create these massive experiences in beautiful natural settings. We have since created 15 similar experiences around the world!

Mathieu: Similarly to Gabriel, I too spent most of my career producing and filming festivals, shows and events in what I now consider to be more “traditional” environments.  In 2013-2014, a few years before I joined Moment Factory, I was approached by Bik Van der Pol, an artist duo from Rotterdam, who challenged me to work with them to reinvent the rock tour. What came from this exploration was a one-day event where hundreds of guests were loaded onto tour buses to visit remote, hidden stages installed in forests and natural canvases throughout the city.  What ensued was an all-day concert that featured 11 bands presented on 11 swatches of land where it was the guests and not the artists that were on tour. This reinvention of form, forever altered the way in which I approach producing experiences. Once I started working with Moment Factory a few years later, and was given the opportunity to continue pushing the boundaries, I quickly found myself working in a team of creators who, much like I, find  great satisfaction in creating experiences in highly unlikely places!

Light Cycles

What would be your dream space to transform with your experiences? 

We are ever searching for that ancient forest, with trees that touch the sky, rivers and creeks that nourish the forest floor and natural landmarks, that have been chiselled through time into the rock below us. We are looking for character forests, places so magical that simply lighting it with a flashlight in the night would stir wonder…please…if you know of such a place, reach out to us!


What is your creative process? Do you create the show around the space?

Our process is integrated; from ideation to execution, our departments specialized in content, environment, and systems design are led by a powerhouse team of project managers and producers who guide the process. Moment Factory is a  one-stop shop for experiences that thrill, surprise, and amaze audiences.

Light Cycles brings together a mix of concepts that were custom-created for the site and adapted from experiences in Moment Factory’s repertoire, such as the award-winning North Forest Lights at The Crystal Bridges Museum of American Art and our Lumina Night Walk series, and was designed with four new custom installations to emphasize the lush canvas of the Botanical Garden.

How long does it take to create an installation like Light Cycles from conception to install?

From ideation, to conception, to production to integration and to opening, it took about 8 months. As the pandemic happened, in the meantime, we worked mostly remotely during the production and integration phases. Light Cycles was made possible through close collaboration with the festival’s team and Moment Factory’s Forest Lab, a test site with a lake in the Quebec woods. Innovative use of 3D scans, aerial photography, and virtual technology, allowed our teams to design multimedia features with precision and seamlessly map them onto Adelaide Botanic Gardens groves and landscapes.

Light Cycles

What are the challenges in putting on a show in a public space? Does winter weather pose any challenges (Australian winter being far less severe than a Canadian one but still frost and rain)

You are correct, the winter in Australia is far more tamed than our Canadian winters, but what often marks this season is the unpredictability of it all. Using technology outdoors can be challenging. It’s integral to our process that the installations are conceived to withstand all weather conditions and merge seamlessly within the natural environment.


What newer technologies are you working with or hoping to work with in the future?

We’re always interested in testing and prototyping new technologies, but it’s not about the tools we use, it’s about how we use them that keeps our work so interesting. Much of the testing of new technologies happens at our Forest Lab, a quaint piece of land 2 hours outside of Montréal where there is a very wide variety of trees, hills, lakes, rivers and a climate that presents us with the full seasonality Canada has to offer. From +35 degrees Celsius in the summer to -35 degrees Celsius in the winter, our experiences and technologies are continuously evolving in this environment to give our creative teams the diversity of tools required to stir emotions through our experiences.


After Adelaide, what and where are your next projects?

Our 15th Lumina Night Walk and first in the United States will open fall 2022.
AURA, an immersive experience at the Invalides in Paris will open in the upcoming year.


We also collaborate with music artists such as Billie Eilish, Olivia Rodrigo, 5 Seconds of Summer, Halsey, The Killers, Arcade Fire, Conan Gray…

We thank Mathieu Grainger and Gabriel Pontbriand from Moment Factory for this interview.



WHAT: Light Cycles, an immersive installation that is part of the Illuminate Adelaide festival

WHERE: Adelaide Botanic Gardens

WHEN: Tuesday to Sunday from 5:30pm until 14 August (sessions every 15 minutes)

HOW: Buy your tickets through this link:

HOW MUCH: Ticket prices are as follows:

  • General Admission – $40.00
  • Group (4 or more people) – $38.00 per person (click + to book for more than 4 people)
  • Children under 4 are free, but a $0.00 ticket is required for entry.

A 2% merchant service charge applies. No concessions apply to this event.



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Have you never heard of Vali Myers? Victoria Falconer wants to change that

Reading Time: 14 minutes

Victoria Falconer presents the debut of her show And then you go (The Vali Myers project) at Adelaide Cabaret Festival this weekend. We had a chat with Victoria Falconer about just who Vali Myers is, the show, cabaret, and more.

Vali Myers Victoria Falconer
LEFT: Victoria Falconer Image Liz Hamm RIGHT: Vali Myers in front of her mirror, Paris, 1953, by Ed van der Elsken, H2019.51/74 Copyright,
Nederlands Fotomuseum / © Ed van der Elsken

Victoria Falconer, your show, And then you go (The Vali Myers project), is going to be premiering at the Adelaide Cabaret Festival. What can audiences expect from the show?

And then you go is a project that I’ve been wanting to get off the ground – it’s been sort of bubbling away in my brain for ages and ages, for years. All the while that I’ve been sort of a cabaret performer who exists in the festival world and the fringe world and kind of goes between directing for larger scale for the main stage musicals, and then come back to Spiegeltent and circus tents and sort of living in between a lot of different types of performance spaces and styles.


I am close to obsessed with the person that is at the centre of this show, the incredible iconic artist Vali Myers.  Have you have you ever come across her before?


To be honest, I think I had heard of her once and then when I saw your show in the programme.

You are not the only one. When I performed the first piece from research at the Cabaret Festival gala, I asked the audience whether they’d ever heard of her. And I had maybe ten people who knew of her, three of whom were on stage.


She’s very much a cult figure in a world where we use the word cult a lot to describe people and she is absolutely one of them because to learn about her, to know anything about her, I think. Is to take an interest in who she was. She was just such a fascinating character, such a fascinating woman and artist.


I’ve always wanted to do something about her life and who she was on stage, because that’s how I communicate. I suppose I’m interested in is something that, whether it’s overtly or subconsciously, ends up on stage when I’m performing. And I love to uplift incredible artists and performers, whether that is in the way that I book lineups when I’m curating shows or in the songs and stuff that I choose to perform or where I’m writing about them.


And Vali is somebody who I feel should be on the same iconic status as Frida Kahlo or similar. She lived out of her time, but she was also very much of the time that she was born in but was completely an outsider from the beginning. She was absolutely Australian and very, very Australian to the end so it’s amazing that not more people in this country know about her. In fact, more people know about her overseas really, than they do here.

Vali Myers

Especially in France, I think.

Absolutely! When I was living in the UK 15 years before I moved back to Adelaide two years ago, I used to pop over to Paris all the time, come back before breakfast. Being a cabaret performer on the London scene, definitely one of the perks is that there are so many amazing gigs you can go and do in Europe. Go over and do your show for few days or for a weekend.


Every so often I would go over and I would do a little Vali pilgrimage. I would go to the cafes that he used to hang out at. I would go to the hotel that she ended up living in for a little while. She was actually looked after in that time by the same woman that looked after Proust. It’s really strange – she just had all of these people who are iconic in literature and music, visual art in every kind of discipline, just crossing her path so it’s bonkers that she’s not more well-known.


She went to Paris when she was 18, finding that the scene of in Melbourne, which is where living then, and it was just too stifling. It was very conservative, it was post-war. She knew she was looking for something a bit bigger and for more people that were like her, the literally got on an ocean liner with £7 in her pocket and went over there. Of course, it was post-war where so many other people were also kind of doing the same thing. But I was very, very bleak over there..


She ended up homeless and on the streets. There are so many quotes from her talking about that time of her life where she said the only things that kept her alive were dancing in these clubs like Rose Rouge and Bal Negre, all of those places where you would find people that were just trying to escape the bleakness of their lives. She was doing the same thing, but she’s in her early twenties. These times have been written about so often but she’s out there. She looked after Django Reinhardt’s kids – she was basically their babysitter for a little while, when they were going on tour to Belgium and around France to the south with them. She was at gigs and hung out with Jean Cocteau and Jean Genet…


All the big names.

Yeah. People that I studied doing a theatre degree in London and then someone like this red-haired Australian woman was there. You do not you do not associate this broad Australian accent and this outlandish looking Australian boho chick or as I think it was Patti Smith that referred to her as the original beatnik, which is amazing praise coming from Patti Smith.


This time it has been ridiculously romanticised and portrayed in film and in theatre and everywhere. But she was there. Basically, what you’re going to see is Vali’s life as an artist and her development and the incredible things that she did, explored by way of various mediums that all kind of come under the umbrella of cabaret. So, you’ll see movement and dance. There are elements of circus, elements of puppetry and theatre, and it’s all original music that I’ve written with my incredible bands and I’m writing, co-writing with Jarrad, who’s an amazing arranger from Adelaide and also my partner who I work with a lot.


Well, it’s good that you get along in the work relationship as well!

So, it’s lucky we just we do a lot of work together because he plays all the instruments that I don’t.

Victoria Falconer
Victoria Falconer plays many instruments. Image: Sin Bozkurt Photographer

That was one of my questions actually. I have a list of instruments that you’ve played in one of your shows, and I was going to ask you a little bit about about that.

The setup is looking like around maybe 20 instruments, maybe a couple more and all of the performances. And there’s five other performers and they will all be acting as well.


People who have come to see my shows before know that I love messing around with lots of equipment and all of the ones that I normally use will be there. This is the fun part actually hilariously about working on bigger musicals is that for whatever reason, my carnie sensibility is very much something that is wanted at the moment on big stages. So, I’m getting a musical saw into every show! Luckily in my own show, I can definitely do what I want. The band are all multi-instrumentalists, so why not give the audience this incredible experience of seeing this ridiculous array of talent doing what they do best? So that’s definitely a driver for the show as well, as well as amplifying the life and the essence of the spirit of who Vali Meyers was and making sure that she’s well known and provoking people into learning more about her and uplifting her, but also showcasing all of the artists that we have and the amazing stuff that I think cabaret is. I think that a lot of people see cabaret in a certain light. They think they know what it is. And I think that’s often a little narrower than I believe it should be.


I’ve worked in cabaret with Courtney Act, so I work in cabaret a lot and then, there’s certain elements of theatre that happen when you’re directly addressed to the audience, that kind of intimacy that you can sort of garner when you really feel like you’re all in the same room and the audience are acknowledged, when you’re experiencing it like that. That’s cabaret!


And it’s not necessarily just somebody singing showtunes at a piano, although again, that is totally cabaret as well. I feel that people forget the spectrum that it can be.


Exactly. It’s quite broad.

Yeah. As an artist, Vali did all kinds of stuff. She started off as a dancer, and was a performer. But she had that cabaret sensibility when she was holding court in New York at her studio because the way that she saw her paintings was one on one. She didn’t have an art gallery representing her. She would bring somebody in the room and be like, “This is for you. This is the one that you want.” And in my mind, that’s like cabaret, you’re bringing somebody in, making them part of your world, hustling them a little bit to get them to buy the things that you are selling and making that kind of connection. So that’s why I feel like it makes sense to tell this story in this medium. And this is the one that I feel the most comfortable in so it makes sense.


Do you remember when you first heard about her and how?

It was when I was at uni? And this is actually it feels like it’s the way that a lot of people do hear about her. And there was a series of photos that were taken of her when she was actually in Paris. And it’s by a photographer caught in Ed Van der Elsken called Love on the Left Bank. It’s gone out of print now and I have a copy but a lot of art galleries and museums they have postcards of these photos. They are such well-known photos and this girl with this look in her eye and the huge Kohl eye makeup and crazy red hair. Exactly what a romantic uni student wants to put on their wall really.


I did a little bit of digging. It was in very early Google times in 2002 or whatever. And I started reading about her and was just thinking “What? Who is this woman? How do I not know about her?” I was amazed that a nerdy, artsy girl like me does not know who she is already.


But then as soon as you start asking other people, and there’s always somebody who’s also as equally obsessed and they know who she is and there’s usually also, especially in Australia, maybe moreso in Melbourne, seven degrees of separation. There’s somebody who knew Vali before she died. I just wish that I could have done that and I guess this is kind of my way of doing that. I get to ask the questions that I would have asked or hang out with her by doing this show. So many people did have their little story about meeting her or whatever.


Since I found out who she was and what she was about when I was 17 or 18 since then it’s been there. When I started doing bigger shows, I was thinking, “Oh, this would be a great subject and a great way to talk more about her and widen the audience that knows about her.” Funnily enough, she does have some surviving family that in there are all around the place and one of them got into contact with me when they found out about the cabaret festival and about the Frank Ford Commission that I won, which was amazing, which means that I could actually do the show and, they bought tickets to come and see these shows. There’s six or seven of them all coming to opening night, which is like stressful.


That must be an honour, but also nerve wracking.

We emailed a couple of times, so I feel that I could manage expectations knowing that this isn’t strictly like a biopic. It’s not that I’m here in the life and times of Vali. It’s a more creative exploration of who she was and what her life is and what it means to be an artist and legacy, like the stuff that she left behind. She had these amazing diaries and lots of artifacts of jewellery and stuff that was all donated to the State Library of Victoria.


She was interested in leaving a legacy, even though she existed as such an outsider and sort of almost didn’t want to sell her art – she ended up selling prints and things like that instead of her actual artworks because they were so precious to her. Then what you leave behind when you’ve made such an impact on so many of these household names and yet nobody knows about you and doesn’t matter. This is kind of the stuff, but that’s going to be in the show. But that’s what I spoke to them about. But I hope they’ll enjoy it. Everybody’s so beautiful and talented amazing that you can’t not. As long as I’m honouring her memory in a respectful way – I think that’s part of my job too, of course.

Vali Myers
Visual diary, Sunflowers in the shadow of my Night, II Porto Italy, Dog days, August 1977, p. 104-105, by Vali Myers, H2018.435 Copyright, Vali Myers Art Gallery Trust

You mentioned that she was a dancer and she was a painter. You also wear different hats – you created, composed, co-direct and perform in this show? Is it difficult taking on so many different roles?

I do, yes. Because it’s so close to my heart, the roles definitely blend into one another. And there’s other ways that we could do it – we could do it with songs that already exist and all of that kind of thing. But if you can do it, you can write something and you can bring people together to do the show. I just didn’t want it to be a one woman show about how Victoria Falconer is in love with Vali Myers.


It’s almost not overtly about me. I almost didn’t put myself in the show. I was just going to be in the band. But then I realized that I definitely needed to be one of the Valis because the performers that we have, each one of them play Valis at different points. But I have also I’ve done a lot of hat-swapping in my career.


With all the different instruments as well, and creating and composing and singing.

Yeah, exactly. I’m not necessarily driven by COVID, but more driven by having had such a good time in my 20s making cabaret shows, sitting around on stage, doing variety shows, traveling around, doing all the festivals, swinging from one hemisphere back to the other one.


Then when bigger shows came knocking and asked “Do you want to come in musical director” and that’s definitely a very different hat but I still like performing in those shows because it means that I get to experience it and live it from the creative point of view so I’m on the table with the director and the movement director and the choreographer and so on but I’m also in with the cast. If that’s happening or even just group mentalities, we’re having a tired day or whatever in the rehearsal room, but I know it from every angle. I think it enables me to help more and also glue the piece together, especially if it’s live music, which is what I specialise in – those shows like actor musician musicals and musicals where the music is definitely not just in the pit, but it is part of the act.  I think it means I have a better viewpoint, a better lens to look through, to make sure that the piece makes sense all together.


And that’s kind of what I’m bringing to this as well, but also very aware that this is why I’m only co-directing, and why I have outside eyes. I have an amazing network of humans that I trust to be able to tell me if I’ve gone off on a tangent or if the storytelling is not clear, or if I’m just throwing in ridiculous instruments for no reason. It’s good to have other people around to remind you of the rules that you’ve put in place and then the rules that you’re allowed to break.


They’re all creatives as well the ones I’ve selected are very specifically chosen because they bring an ability to devise into the room. In the creative developments, they’re being just as hands on with how we tell the story as I am. It’s not like I’m just giving them a script or a brief, and then they do it. We’re all in there with our hands in and mucking around and choosing the ways to tell a story. They’re all just ridiculously brilliant.

Vali Myers
Vali-Myers-Image-Credit: Rudi Rappold Vali and her Fox 1972 kindly reproduced courtesy of State Library of Victoria.png


We’ve got a person in who I realised we needed to play Foxy. He’s the only person that’s not playing Vali as he’s playing Foxy, who is one of the most significant relationships of his life, which is her pet fox that she had.


Of course!.

How could you not put this on stage?!


Exactly! It been sitting there untold and needs to be it needs to be shared. People in Adelaide may have already seen your show, East End Cabaret, for example, at Adelaide Fringe, which I haven’t had the experience of watching myself, but I’ve read some reviews and I’ve read that it’s a bit risqué. How is this show compare to that (apart from the fact it’s about someone in particular)? Does And then you go (The Vali Myers project) have similar qualities?

East End was a duo. And I think that that was kind of my first foray into the cabaret world and I toured it for a bunch of years. That was all original songs and still character led. It was super filthy, which was very exciting to be able to do, and to be able to talk about sex on stage. There is definitely going to be at the same sort of vitality about it, like the same kind of pushing boundaries, but in different ways. Because we’re telling this particular person’s story, it’s not around getting amongst the audience and making them feel like these outlandish characters exist in their world, it’s more about transporting them to a different world. It still feels like they’re there, that we’re all here in the same room. And that room would be anywhere; it could be in Italy, it could be in Paris, it could be in New York. And that same sense of intimacy is definitely a part of it.


It probably has a little bit more in common with a Fringe Wives Club, which is the most the other cabaret show that I did and more recently in Adelaide, that was the one that won the Cabaret award. That one was a bit educational because it was talking about real experiences in a sort of disco feminist way. The messaging was around feminism and why it’s relevant to you. Bringing people onto the dance floor in a way that was sort of unexpected and that kind of thing of showing this particular story and everything that I feel about being an artist and making art and what that means to be an artist and an audience member and vice versa, is exploring that in a way that’s sort of a same sense of I hope that the people leave thinking about thinking about things that they wouldn’t have thought about otherwise such as how they consume art and also about people and backstories and what gets left behind and whether that’s important or not.


The legacy that we leave…

Yeah. It’s a little bit more artsy because I’ve got a little bit more budget, so I get to do some fun things thanks to the grant.

We thank Victoria Falconer for this interview and look forward to seeing And then you go (The Vali Myers project) at Adelaide Cabaret Festival this weekend.



WHAT: Victoria Falconer’s show “And then you go (The Vali Myers project)

WHERE: Space Theatre, Adelaide Festival Centre, ADELAIDE

WHEN: Friday 24 June 6:30pm and Saturday 25 June at 9pm

HOW: Purchase your tickets via this link:

HOW MUCH: Ticket prices (exclusive of booking fee) are as follows:

  • Premium Adult $59.00
  • A Reserve Adult $49.00
  • Under 30 $30.00



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