For some bookings you don't just bring your act, you bring your entire production. A container of fire equipment, cases full of LED tools, liquids, set pieces and a team to keep it all running. We've been doing this for over ten years. From a corporate event in Lisbon to a gala on a cruise ship in the middle of the ocean, we take our fire and light shows and installations worldwide. We can do this thanks to cleverly designed equipment, compact builds, a wide international network and a team used to travelling. In this guide we explain how we approach it in practice, how we ship our gear, how we work with local teams, and what an international event asks of us and of you. So you know what to expect when you book us across the border.
Where we have performed
Our performers and technicians have crossed the world many times over. We've delivered productions in Portugal, Switzerland, India, Hong Kong, Oman and Saudi Arabia. We also work regularly on cruise ships, on every ocean. Putting on a show aboard a moving ship, with limited space, strict safety rules and shifting wind directions, calls for a different approach than an open festival site. We carry that experience with us wherever we go.
Whether it's a private event in the Gulf region, a corporate event in the Alps or an opening in Asia, our starting point is the same: if you really want it, anything is possible. Every destination has its own climate, its own rules and its own audience expectations. We translate that into a show that fits the location and the culture, without losing our signature. You'll find more examples of productions we've delivered in our portfolio.
How we ship our equipment internationally
We never start with logistics, we start with the concept. First we listen to what you want: the kind of spectacle that suits your event, the feeling you want to create, the space you have. Only then do we look at feasibility and transport. That way we don't let distance limit us creatively. Below is how we work per type of equipment.
LED equipment
Our lighting systems run on small batteries with limited capacity. That puts them well within airline limits, so they travel as (hold) luggage. We know exactly how to pack the cases and which accompanying documents and letters airport staff need. That avoids questions, delays and stress at the gate.
Fire equipment
We can also fly with our fire props, provided everything is carefully prepared. We burn all materials completely empty, clean them thoroughly so they're free of odour and liquid, and wrap them in several layers of plastic and aluminium foil. We always declare our gear at customs and label it clearly with the right paperwork. By working tidily and transparently we avoid raising suspicion at the airport, and the process runs smoothly. Our experience with international airports helps enormously: we know the questions that get asked and the documents you need ready in advance.
Liquids and consumables
Flammable liquids can't travel by plane. So we ship them separately, or we source them locally. Over the years we've built a database of the right liquids for each country and where to obtain them. If needed, we have them delivered straight to your venue, so everything is on hand on build day.
Large-scale installations
For projects too large for air freight, we work with trusted overland transport partners. We follow the shipment closely with track-and-trace, so we know exactly where the equipment is and when it will arrive on site. If an installation needs hands-on supervision, or contains delicate technology you don't want shipped unattended, we'll get into a van and drive your way ourselves. A few days on the road doesn't put our installers off, their goal is to make your vision real on location.
Working with local teams and partners
Over ten years we've built a worldwide network of both performers and technical production companies. That network opens a lot of doors. Sometimes we fly in with a fully in-house crew. Sometimes we work with a mix of our own people and local staff. And sometimes we slot straight into the team the client already has in place, with their tech, their riggers and their production manager. Which set-up suits best is something we discuss with you in advance. It depends on the scale of the show, the budget and the complexity of the venue.
We find it valuable to weave local knowledge into our concepts. Someone who already knows the venue, the site or the ship sees things we can't see from a distance. Fire-safety standards, available power, climate conditions, cultural sensitivities around fire or certain visuals: these are the details that decide whether a show works or trips up on a local regulation. By collaborating instead of steamrolling local teams, we end up with a result that's technically sound and feels locally at home. Our transport partners are built up the same way, fixed names we've worked with for years and who know our equipment.
