Case Study: Donald Holder Lighting Design, Inc.

TONY AWARD WINNER DON HOLDER LIGHTS THE BRIDGES OF MADISON COUNTY Case Study: Donald Holder Lighting Design, Inc.Te Papa Tongarewa

Holder lit the cornfield and horizon detail on a translucent sky using backlight reflected fof a bounce drop.

For Donald Holder, a two-time Tony Award® winner with As he neared college, Holder was equally passionate about theatre, music, and the outdoors, so he attended The University of Maine, 10 nominations under his belt, there’s nothing more where he majored in forestry while pursuing theatre and music in a exciting than being in the theatre. After all, it’s where vibrant performing arts program. After graduating, he spent three years he gets to reveal the world of a great play or musical as a technical director and lighting designer at Muhlenberg College before earning a master in fine arts from the Yale School of Drama. and help create something special that transports “It was at Yale, under the extraordinary mentorship of Jennifer Tipton, audience members to a magical place, allowing them where I developed a clear understanding of technique and process that would serve as the foundation for my career,” he recalls. to forget their cares for a few hours each night. Today, Holder has one full-time employee at Donald Holder Lighting Design, Inc., and he hires freelancers when needed. About 75% of his It’s a love born from spending his youth seeing Broadway shows, opera, work is in theatre, opera, and dance, and 25% is in other disciplines, ballet, and symphony orchestra performances, and studying violin, tuba, including architecture. In the last 18 months, he’s designed the lighting and string bass. “The first musical I remember seeing was A Fiddler On for seven musicals, five plays, three operas, a season of episodic The Roof,” Holder says. “I was profoundly affected by it, even at the television (“Smash” on NBC), one episode of “Law and Order,” tender age of five or six, so I’m incredibly excited to light the upcoming and two restaurants. revival in the fall of 2015.” Another positive influence was Lighting Designer Tharon Musser. “I’ll never forget seeing her incredible work Holder’s Tony Award-winning projects include The Lion King directed by on A Chorus Line when I was a teenager,” recalls Holder. “It was her Julie Taymor and the 2008 Broadway revival of South Pacific, produced work that really allowed me to see the power, beauty, and poetry of in the Vivien Beaumont Theatre, Holder’s favorite place to work. When stage lighting for the first time.” reflecting on these projects, he says, “they were memorable for different reasons, and each had its own particular challenges. These shows represent moments in my career where all the elements were in place for me to do my best work with an extraordinary group of collaborators.” Case Study: Donald Holder Lighting Design, Inc.Te Papa Tongarewa

Creating Iowa’s Plains

Holder’s success with past collaborators led him to one of his more production the following summer at the Williamstown Theatre Festival, recent projects as the lighting designer for Broadway’s The Bridges so design work began in earnest in late spring of 2013. The Broadway of Madison County. Based on a novel written by Robert James Waller, production period began on January 2, 2014. Opening night at the Bridges is a romantic musical that gives two strangers, a photographer Gerald Schoenfeld Theatre was six weeks later. and an Iowa farm wife, a second chance at love. Holder’s work on the production earned him a 2014 Tony Award nomination for Best Lighting “The scenic design was sparse and elemental, conceived to allow Design in a Musical. light to do a large part of the storytelling,” Holder says. “The lighting was responsible for creating shifts in time, weather, season, location, “We see the world of Bridges through a photographer’s eye, so light and interior versus exterior, and there were often multiple locations plays a key metaphorical and storytelling role,” says Holder, who was revealed simultaneously. So the biggest challenge for me was to find hired for the project in late 2012, based on his long, collaborative the large ‘brushstrokes’ of light via variations in angle and color that relationship with the production’s director, Bartlett Sher, as well as could reveal this single space in a multitude of ways.” other designers on the team. The musical had a developmental

The scene and Holder’s communicative lighting design capably suggest the vast Iowa landscape. Case Study: Donald Holder Lighting Design, Inc.Te Papa Tongarewa

To meet the play’s fluid staging needs, Holder’s cueing was nonstop. Scenes shifted quickly among minimalist sets like the kitchen shown here, the bridge, the Iowa plains, Italy, the state fair, and more.

The set featured a large painted cyclorama evoking the endless horizon For example, the painted detail on the translucent sky drop is revealed and cornfields of Iowa. This horizon drop needed a substantial amount using backlight reflected off a white bounce, or reflector, rigged about of depth in order to be properly illuminated. “Unfortunately, the shallow 20” upstage of the sky. “By evoking the hazy glow of the sun behind a confines of the Schoenfeld Theatre did not allow for this, so I had to lone tree that was featured prominently in the scenic design, we were develop some rather unusual solutions to create the illusion of a vast, able to achieve an even greater illusion of depth,” Holder explains. He unending horizon with about half the space typically available,” says created this second layer of light using a position (fitted with ARSP and Holder. “I’ve been developing techniques for lighting the cyclorama color-changers) squeezed between the bounce and the back wall of that stretch back over 15 years with my work on The Lion King [for the theatre, painted white for the production. “The white brick surface which he won the 1998 Tony Award for Best Lighting Design and the reacted just like a second bounce, and the reflected light created a Drama Desk Award for Outstanding Lighting Design]. “Some of those localized soft glow on the sky exactly as I had hoped,” he adds. techniques, with variations, of course, were quite useful in tackling As another example, a fantasy sequence at the top of Act Two required similar challenges I faced with Bridges.” that the image of Iowa magically fade away to reveal a more abstract and distant landscape. “We accomplished this by simply shifting from backlight to deep indigo front-light on the drop, which created a sky of a very different quality,” Holder says. Case Study: Donald Holder Lighting Design, Inc.Te Papa Tongarewa

K E Y

35'-0" 30'-0" 25'-0" 20'-0" 15'-0" 10'-0" 5'-0" CL 5'-0" 10'-0" 15'-0" 20'-0" 25'-0" 30'-0" 35'-0" ETC SOURCE 4 10° 750w

#2 BOOM SL 27'-9" BACK WALL ETC SOURCE 4 14° 750w L119 R68 R27 L119 R68 R27 L119 R68 R27 L119 R68 R27 L119 R68 R27 #1 BOOM SL #1 BOOM SR #2 BOOM SR 300 301 302 300 301 302 300 301 302 300 301 302 300 301 302 BOUNCE BOUNCE 26'-3" BOUNCE ETC SOURCE 4 19° 750w 3LT 500w T-3 STRIPLT H1 G1 F1 E1 D1 C1 7'-6" 9LT 500w T-3 STRIPLIGHT B1 ELECTRIC 25'-7" #6 ELECTRIC to Venue Deck +33'-1" 6 A1 6 #6 Electric TRIM: 33'-1" TO VENUE FLOOR TRANSLUCENCY DAY SKY DROP 300 301 302 300 301 302 300 301 302 TRANSLUCENCY DAY SKY DROP 24'-9" DAY SKY DROP ETC SOURCE 4 26° 750w 3" (TYP SPACING) L119 R68 R27 L119 R68 R27 L119 R68 R27

STAR DROP STAR DROP 23'-5" STARDROP BLACK SCRIM BLACK SCRIM ETC SOURCE 4 36° 750w SCENIC G'ROW SCENIC G'ROW 23'-0" BLACK SCRIM L202+R119 951 US BENCH 952 851 953 954 326 213 253 236 227 R119 145 254 228 229 R119 144 W A S H WTREE A S H 78 W A S H W A S H ETC SOURCE 4 50° 750w R119 R132 R132 R119 L202+R132 R119 7A R132 9 4 13 12 10 to Venue Deck 22 21 20 19 18 18 17 16 15 14 11 8 7 6 5 3 2 1 ELECTRIC 21'-0" #5 ELECTRIC +27'-4"

5 WK WK 5 #4 LADDER SR TRIM: 27'-4" TO #4 LADDER SL VENUE FLOOR 20'-3" TELEPHONE POLE 90 EDGE OF14 SHOW6 DECK 146 16A 91 168 EDGE OF SHOW DECK77 SP ETC SOURCE 4 PAR NSP 750w L161+R132 N/C L202+R119 R132 TELEPHONE POLE L161+R132 19'-11" #4 LEGS #4 LEG #4 LEG 13A R132 R132 2'-0" 4'-3" 2'-1" 2'-0" 1'-3" 1'-8" 2'-10" 1'-3" 3'-0" 1'-9" 1'-10" 3'-3" 2'-0" 1'-3" 2'-0" 1'-8" 2'-0" 1'-11" 4'-3" 2'-0" L202+R119 AC LIGHTING 164 COLOR FORCE RGBA 18'-5" #4 HEADER #4 HEADER 18" TAIL-DOWN #4 HEADER WITH 60° 'BORDER' SPREAD LENS 26'-0" CLEAR UNDER TAB TAB UNIT 18 48 CHANNEL MODE SR CHOPPER 1'-9" 3'-3" 2'-0" 1'-3" SL CHOPPER

USR #3 2'-0" 2'-0" 1'-9" 2'-0" 2'-0" 1'-3" 1'-3" 1'-9" 3'-0" #3 USL SEE UNIT CALL-OUT FOR SIZE TYPE 841 842 843 USL HOUSE EAVE 17'-0" USL HOUSE EAVE 349 214 213 1'-9" 3'-6" 208 251 230 BOUNDRY 2'-0" SPACING (TYP) 2'-0" SPACING (TYP) 19A 5A 108 99 NC L161 R119 R119 L202+R119 L201+R119 R119 L202+R119 L202+R119 R119 R119 L202+R119 R119 R119 L161 NC CT AUTOYOKE

GALLERY ETC SOURCE 4 10° 750w

4 23 22 21 20 19B 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 15'-8" #4 ELECTRIC +28'-5" WK WK w/AUTO IRIS, AUTOFOCUS 103 112 64 88 65 89 167 171 76 50 324 75 49 4 ELECTRIC #3 TOWER SL & 7.5" SCROLLER L161+R132 L161+R132 L161 R119 TRIM: 28'-5" TO ROVING TOWER INCLUDE R132 IN #3 TRACK US BRIDGE R119 SHOW DECK 13'-11" US BRIDGE FRAME HOLDER #3 TOWER SR #3 LADDER SR #3 LADDER SL ROVING TOWER #3 PORTAL #3 PORTAL 13'-1" #3 PORTAL 2'-0" 2'-0" 2'-0" 2'-0" 1'-3" 1'-9" 2'-0" 2'-0" 2'-9" 3'-0" 2'-0" 2'-0" 2'-0" 2'-3" 2'-0" 2'-0" SPACING (TYP) 2'-0" 1'-9" 1'-6" 1'-6"

STATE FAIR SIGN 12'-5" STATE FAIR SIGN S 831 L202+R119 832 207 833 A 102 111 61 86 155 SP SP 62 87 154 172 153 74 47 152 73 46 323 107 98 NC L161 R132 R132 18A R119 R119 12A 11A L202+R119 R119 R119 7A R119 R119 L202+R119 L161 NC AS TAB TAB

SR CHOPPER 13A SL CHOPPER MSR #2 #2 MSL

24 23 22 21 20 19 18 17 16 15 14 12 11 10 9 8 7 6 5 4 3 2A 2 1 10'-9" #3 ELECTRIC +27'-0" VARI*LITE VL1000 AS 575w WK WK 3 WK WK 13 WITH R3409 COLOR CORRECT R119 #2 LADDER SL 170 #2 TRACK ELECTRIC R119 R119 L202+R119 R119 3 12" TAIL-DOWN 166 TRIM: 27'-0" TO UNITS 17 & 18 MS BRIDGE R119 SHOW DECK 9'-3" MS BRIDGE UNDER BOUNDRY

CLEAR #2 TOWER SL 2'-0" SPACING (TYP) 2'-3" 2'-0" 2'-0" 2'-0" 6'-9" 5'-6" 2'-0" 1'-9" 2'-6" 2'-0" SPACING (TYP) ROVING TOWER GALLERY 26'-0" #2 TOWER SR #2 LADDER SR 7'-1" #2 PORTAL VARI*LITE 3500Q PROFILE 1200w ROVING TOWER #2 PORTAL 277 151 209 202 276 150 219 218 149 275 220 148 274 #2 PORTAL 15B 5A NC L161 R119 R132 9B 9A R119 R119 NC L161 W A S H

20 19 18 17 16 15A 15 14 13 12 WK WK 11 10 9 8 7 6 5 4 3 2 1 ELECTRIC 5'-9" #2 ELECTRIC +26'-0" WK 2 WK 2 VARI*LITE 3500Q WASH TRIM: 26'-0" TO SHOW DECK WITH TOPHAT 1200w TAB 101 110 58 59 44 43 97 106 TAB SR CHOPPER DS BRIDGE SL CHOPPER 4'-9" DS BRIDGE R119 L161+R132 L202+R132 R119 L201+R132 R132 R119 R132 R119 DSR #1 #1 TRACK #1 DSL R119 R119 R119 R119 3'-9" DSR HOUSE EAVE DSR HOUSE EAVE NC NC

18B 18A 4B 4A 71 R119 R119 R119 R119 R119 L202+R132 R119 L202+R119 L202+R119 R119 R119 R302+R132 L161+R132 NC R119 R119

22 21 20 19 18 17A 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 2'-1" #1 ELECTRIC +23'-6" WK WK 1 WK WK #1 TOWER SL AS AS AS AS ROVING TOWER 235 84 55 SP 85 56 353 332 165 169 41 72 196 357 356 40 1 ELECTRIC 12 11 TRIM: 23'-6" TO #1 LADDER SR 2'-0" SPACING (TYP) 711 702 712 713 SHOW DECK #1 LADDER SL 0'-5" SHOW PORTAL 3'-0" 3'-5" 2'-0" 2'-9" 2'-0" 2'-0" 2'-0" 2'-0" 1'-9" 1'-9" 2'-6" 3'-0" 2'-0" SPACING (TYP) #1 TOWER SR SHOW PORTAL (#1) SHOW PORTAL (#1) 0'-0" SMOKE POCKET ROVING TOWER SMOKE POCKET SMOKE POCKET L I N E S E T S C H E D U L E

DISTANCE TRIM US FROM C DESCRIPTION HEIGHT L 0'-0" SHADED BOXES INDICATE ELECTRIC POSITIONS & WK MINI 10 WORK LIGHT 300w ELECTRIFIED HANGING PIECES STAGE MANAGEMENT CONTROL REFER TO MOST CURRENT SCENIC DRAWING FOR WK MINI 10 WORK LIGHT 500w EXACT LINE SET POSITIONS & NUMBERING CONSOLE CONTROL PROSC BOOM SR PROSC BOOM SL TOPHAT ALL UNITS THIS POSITION TOPHAT ALL UNITS THIS POSITION ALLOW +/- 3'-0" TRIM FLEXABILITY FOR FINAL TRIM. MOVING LIGHT FIXTURE FINAL TRIM TO BE SET BY LD DURING FOCUS CALL OUT DIMENSIONS ABOVE SHOW DECK CALL OUT DIMENSIONS ABOVE SHOW DECK 101 CONTOL No. N R ALL OVERHEAD TRIMS FROM BOTTOM PIPE/TRUSS CHORD TO SHOW DECK NR BOX BOOM SR NR BOX BOOM SL B CONTROL CONSOLE O 1 R TOPHAT ALL UNITS THIS POSITION UNIT #1 SIDEARM HANG UNIT #1 SIDEARM HANG TOPHAT ALL UNITS THIS POSITION SCHOENFELD THEATRE NYC CHANNEL No. S X

M B L162+R119 O O O TEMPLATE O R119 124 B M +4'-6" X 3 P IRIS +4'-6" 3 S R AUDIO TRUSS R L O S 2 UNIT No. B 129 O +6'-0" R M S 2 C +6'-0" 2 N R119 O WYBRON RAM IT 188 R68+R119 183 B COLOR SCROLLER O L201+R119 O 51 B 255 L203+R132 O 11 C G E N E R A L P L O T N O T E S R132 394 +8'-0" 12 S A ALL ETC SOURCE 4 ELLIPSOIDALS TO CONTAIN NEW STYLE GLASS REFLECTOR PROVIDE SCROLLER COOLING FAN ON/OFF CONTROL M SHADED UNIT D 1 2'-0" O REFER TO PAPERWORK FOR ALL COLOR AND ACCESSORY INFORMATION ALIGN ALL ELLIPSOIDALS PRIOR TO INSTALLATION (BY POSITION) VIA LIGHTING CONSOLE L203+R132 2'-0" NO SHOW USAGE 156 R40+R132 +9'-6" S 13 R119 R R40+R132 157 L SP P BOOM POSITIONS & ADDED PIPE POSITIONS MUST BE SECURED AND STIFFENED ALL HANGING ELECTRICS TO RECIEVE FINAL TRIM AT FOCUS: DO NOT CHAIN OFF ALL FOH ELLIPSODIALS TO HAVE FULL FLOCKED TOPHATS E 255 36 NC TO PREVENT MOVEMENT OR TIE OFF BEFORE FOCUS IS COMPLETE THIS DRAWING REPRESENTS VISUAL CONCEPTS 9 PROVIDE ADEQUATE WORKLIGHT TO BE CONTROLLED BY +11'-0" 10 MEASUREMENTS ON FOH POSITIONS, TRIM HEIGHTS AND BOOM ELEVATION STIFFEN ALL LIGHTING BOOMS AND ELECTRICS AND CONTRUCTION SUGGESTIONS ONLY. 1 STAGE MANAGEMENT +12'-6" CALL-OUTS ARE FROM VENUE DECK TO SIDE ARM OR HANGING PIPE UNLESS 1 IT DOES NOT REPLACE THE KNOWLEDGE AND 2'-0" 10 PROVIDE SPARE UNITS OF EACH TYPE 11 2'-0" ADVICE OF A LICENSED STRUCTURAL ENGINEER. 139 OTHERWISE INDICATED R119 135 +12'-6" 109 81 PROVIDE SPARE CIRCUITS AT ALL POSITIONS 68 105 THE DESIGNER IS UNQUALIFIED TO DETERMINE THE L161 R119 CONFIRM BOOM/ADDED PIPES PLACEMENT BEFORE INSTALLATION WITH C L161 STRUCTURAL APPROPRIATENESS OF THIS DESIGN 7 TECHNICAL DIRECTOR AND LIGHTING DESIGNER SINGLE CIRCUIT WHENEVER POSSIBLE 8 AND WILL NOT ASSUME RESPONSIBILITY R119 R119 FOR IMPROPER ENGINEERING OR USE. ALL TEMPLATED UNITS TO HAVE DONUTS 340 NC ALL ELLIPSOIDALS ARE ETC SOURCE 4 WITH TEMPLATE SLOT, SHUTTERS, R132 394 8 BLACK SAFETY CABLES, C-CLAMPS AND BLACK COLOR FRAME PROVIDE SPARE BLACKWRAP, BLACKTAC, COLOR: L209, R132, R119, R104, +19'-0" 9 B R132 DONALD HOLDER 3'-6" 100 NC AND R114 FOR POSSIBLE USE DURING FOCUS 96 3'-6" LIGHTING DESIGN, INC 340 NC 701 A +20'-6" S A TO C 2'-6" 7'-0" 1'-0" 1'-0" 4'-0" 2'-6" TO C L L L161 237 17 West 20th Street 6 R132 6 6th Floor R119 54 10 27 9 26 335 25 8 334 333 24 7 23 6 39 NYC, NY 10011 (212) 691-6694 phone 2'-0" 34 33 33 338 32 7 R119 2'-0" 355 (212) 645-4989 fax 52 R132 R132 L201+R132 R132 L201+R132 L202+R132 L201+R132 R132 L202+R132 L202+R132 L201+R132 R132 L201+R132 R132 R132 37 NC NC NC L161+R132 NC L.D. 445 4 4 This drawing and all related paperwork, design concepts, and the F resultant lighting design are the property of Donald Holder . Any R119 R A R119 attempt to use, reproduce, or otherwise alter these materials without S the consent of Donald Holder is expressly forbidden. 5 20 19 18 17 16 15 14 13 12 11 10 9 7 6 5 4 3 2 1 R 5 FAR BOX BOOM SR HIGH 8 OVERHANG UNITS FAR BOX BOOM SL M B 82 69 S AS BUILT ISSUE 02/19/14 1 O 1 O NOT SHOWN IN TRUE POSITION TOP X R REVISION ISSUE 01/21/14 POSIT O DETAILING UNDERHUNG POSITION 2 B TOP . 2 REVISION ISSUE B Q 01/15/14 . SHORT TOPHAT AUTOYOKE 10° O POSIT 347 3 X R132 R132 R132 R132 R132 3 347 FOCUS DAY 3 REVISIONS 01/02/14 L201+R132 R132 L161+R132 R132 L201+R132 L202 L161+R132 NC L201+R119 R132 NC R132 L203+R132 NC L201+R132 R132 L201+R132 R132 R132 TOPHAT ALL CONV UNITS O P O THIS POSITION L202+R132 L202+R132 53 M 38 O FOCUS DAY 1 REVISIONS 12/29/13 B REVISED CHANNELING 12/23/13 R119 83 R S 70 R119 N A 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 OH TRUSS L LOW F M REVISED BRIDGE PLACEMENT 12/13/13 R119 F TRIM: 32'-0" R119 REV REVISION DATE 601 602 603 604 605 22 5 299 4 21 31 299 30 20 3 30 231 336 29 19 2 18 1 216 PRODUCED BY 1'-8" 1'-8" 3'-3" 2'-0" 2'-0" 2'-0" 2'-0" 1'-9" 1'-9" 1'-9" 1'-3" JEFFREY RICHARDS, STACY MINDICH 2'-0" L161 337 BALCONY RAIL 337 TOPHAT ALL CONV UNITS 225 L202+R119 THIS POSITION TO C DIRECTED BY ...... BARTLETT SHER 314 317 L L162+R119 314 L119+R119 L119+R119 317 L202+R119 TO C L119+R119 L119+R119 SCENERY DESIGNED BY ...... MICHAEL YEARGAN 2'-0" 7 L L119+R119 L119+R119 495 FOH VIDEO MONITOR BLACK 114 L161 L119+R119 L119+R119 R15 COSTUMES BY ...... C. ATHERINE ZUBER L203 379 379 1 8 379 379 5 LIGHTING BY ...... DONALD HOLDER 225 2 224 8 3 3'-3" 7 4 6 L162+R119 PRODUCTION SUPERVISOR ...... NEIL MAZZELLA 2'-0" 5 FOH TRUSS 341 6 4A TRUE POSITION L162+R119 L203 5A 5 PRODUCTION ELECTRICIAN . . . . . JAMES MALONEY 6 2'-0" 12'-0" 2'-0" 224 118 FOCUS TRACK 3 SHORT TOPHAT 3500Q 3 801 4 115 4'-9" 4'-3" 3'-0" 3'-0" 4'-3" L162+R119 L162+R119 4 119 logo 120 116 L162+R119 OOTH TOP B 1 OF 1 POSITION 3 - LYCIAN 1293 3K XENON 2 OF POSITION 2 121 FRAME: COLOR: TOP 117 1 L201 SCHOENFELD THEATRE L162+R119 2 R3409 L162+R119 NYC, NY 3 R3408 4 R3313 SCALE: 1/2" = 1'-0" DRAWING No. 5 R51 EXCEPT WHERE NOTED 6 L161 DATE : 13 FEB 2014 FX DIP STICK R132 REVISION : AS BUILT 1 3 2 1 TAPED TO FRONT OF EACH LAMP: R3409+R3318 DRAWN BY: MPJ OF 3

L I G H T P L O T

36 X 24 Don Holder’s lighting design groundplan for the Schoenfeld Theatre production of The Bridges of Madison County done in Vectorworks Spotlight.

Vectorworks Creates a Build-Ready Reality

To create such build-ready realities, Holder turns to Vectorworks For Bridges, Holder enlisted Associate Lighting Designer Michael P. Spotlight software, having started his career with its earlier version, Jones, who used the data exchange with Lightwright® v5 to translate MiniCAD, when creating multiple productions of The Lion King. Holder’s hand-drafted lighting layouts for the Williamstown production “Hand-drafting almost identical versions of the same show in different into the Schoenfeld Theatre-specific light plot. Transferring a majority venues seemed terribly inefficient, so we moved to Vectorworks in the of instrument attributes, including purpose, color, and templates, 1990s and have never looked back,” Holder says. “I personally use from the earlier show through the lighting production tool enabled Vectorworks quite often and draft smaller projects on my own, but the information to seamlessly integrate into the Broadway version’s typically I’m making edits versus creating large drawings from scratch. Vectorworks Spotlight light plot. I often accomplish a lot of 3D visualization in my head, sketch out ideas on paper, and then translate them into a digital format.” Case Study: Donald Holder Lighting Design, Inc.Te Papa Tongarewa " " " " " " 0 0 5 4 . 6 K E Y 1 - - - - - ' ' ' ' - ' ' 6 7 8 7 3 3 TRIM E 2 2 2 2 2

HEIGHT 3 + + + + L + + ETC SOURCE 4 10°

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ETC SOURCE 4 50° 750w

ETC SOURCE 4 PAR NSP 750w

AC LIGHTING COLOR FORCE RGBA WITH 60° 'BORDER' SPREAD LENS 48 CHANNEL MODE SEE UNIT CALL-OUT FOR SIZE TYPE

CT AUTOYOKE ETC SOURCE 4 10° 750w 50'-0" w/AUTO IRIS, AUTOFOCUS & 7.5" SCROLLER INCLUDE R132 IN FRAME HOLDER S A

AS

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35'-0"

6 BOUNCE SKY DROP

FOH TRUSS DAY MINI 10 WORK LIGHT 300w TRIM: 32'-0" NIGHT WK STAGE MANAGEMENT CONTROL DROP WK MINI 10 WORK LIGHT 500w TRANSLUCENCY STAR CONSOLE CONTROL AUDIO DELAY TRUSS 4 30'-0" MOVING LIGHT FIXTURE AUDIO TRUSS 101 CONTOL No. 3 5 CONTROL CONSOLE SIGN FAIR 1 CHANNEL No.

2 STATE SCRIM BRIDGE

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1 IRIS DS BRIDGE 2 UNIT No. BRIDGE

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PORTAL THIS DRAWING REPRESENTS VISUAL CONCEPTS

#2 AND CONTRUCTION SUGGESTIONS ONLY. IT DOES NOT REPLACE THE KNOWLEDGE AND ADVICE OF A LICENSED STRUCTURAL ENGINEER. THE DESIGNER IS UNQUALIFIED TO DETERMINE THE STRUCTURAL APPROPRIATENESS OF THIS DESIGN 20'-0" AND WILL NOT ASSUME RESPONSIBILITY FOR IMPROPER ENGINEERING OR USE.

DONALD HOLDER AS AS LIGHTING DESIGN, INC PORTAL 17 West 20th Street R S

SHOW 6th Floor R

E NYC, NY 10011 D

D (212) 691-6694 phone R A S L FAR BOX BOOM SR NEAR BOX BOOM SR (212) 645-4989 fax

R R R 4 E S S #

D L.D. 445 R R D E E This drawing and all related paperwork, design concepts, and the A D D 15'-0"

L resultant lighting design are the property of Donald Holder . Any

D D attempt to use, reproduce, or otherwise alter these materials without 1 A A

# the consent of Donald Holder is expressly forbidden. L L

2 3 # # UPM-1 S AS BUILT ISSUE 02/19/14 Meyer

HF R REVISION ISSUE 01/21/14 Q REVISION ISSUE 01/15/14 SCENIC CLEAR 12' SCENIC CLEAR P FOCUS DAY 3 REVISIONS 01/02/14 O FOCUS DAY 1 REVISIONS 12/29/13 BALCONY RAIL N REVISED CHANNELING 12/23/13 M REVISED BRIDGE PLACEMENT 12/13/13 REV REVISION DATE 10'-0" 14'-0" 13'-6"

R PRODUCED BY S

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R R JEFFREY RICHARDS, STACY MINDICH UPM-1 N S S U

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1 2 ...... H S # # LIGHTING BY ...... DONALD HOLDER

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PAY PRODUCTION ELECTRICIAN . . . . . JAMES MALONEY S R Q P O logo

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DRAWN BY: MPJ OF 3

CENTERLINE SECTION 55'-0" 50'-0" 45'-0" 40'-0" 35'-0" 30'-0" 25'-0" 20'-0" 15'-0" 10'-0" 5'-0" SMOKE POCKET 5'-0" 10'-0" 15'-0" 20'-0" 25'-0"

36 X 24 This section view from the Schoenfeld Theatre production of The Bridges of Madison County shows light and audio positions, as well as the tightly packed bounce lighting.

“Vectorworks has become such a reliable standard in the theatrical The workflow went like this: Jones sent the preliminary Vectorworks design industry in expressing our theatrical visions into build-ready drafting to Sound Designer Weston, who then inserted the speaker reality,” Jones says, noting that Bridges benefitted from having three locations he required in those areas not already occupied by lighting disciplines all using the program to execute their designs. Scenic gear. Weston shared this information with Holder and Jones, who Designer Michael Yeargan’s associate Mikiko Suzuki McAdams and incorporated both speakers and lighting into the final “build” documents. Sound Designer Jon Weston’s associate Jason Strangfeld both drafted There was a similar process for scenic design. “We inserted our lighting their designs using Vectorworks, “which made the scenic, lighting, positions into the scenic plan and section, also created using Vectorworks, and audio integration into the master build schematic easy, as well as and shared these details with Mikiko,” Holder explains. “This made her updates and revisions simple without having to convert from DWG/ aware of the exact location, footprint, and dimensions of all our lighting DXF. I am continually pleased with the powerful productivity features equipment, so she could adjust the location of flying elements, tracking that Vectorworks Spotlight provides in helping me draft an aesthetically units, masking, etc., to avoid any conflicts.” pleasing light plot out of which became a beautifully realized design element of a wonderful production.” Case Study: Donald Holder Lighting Design, Inc.Te Papa Tongarewa

Holder’s Future Playbill

Looking to the near future, Holder is working on Faust by Charles Gounod at the Festspielhaus Baden-Baden, Germany’s largest opera house and concert hall with 2,500 seats. He’s also acquiring skills in 3D rendering—“not necessarily ‘new technology,’ but new for me and an increasingly important tool,” Holder adds.

He’s also excited about emerging technology. A good example is Spiderman Turn Off The Dark, for which Holder employed over 1,000 LED fixtures of various types and description. “In every case, I felt the LED source was really the only choice that would do the job,” he says. “I’m a firm believer that the design must always drive the technology. Technology makes big ideas possible, but without that great idea, all the bells and whistles ultimately add up to nothing.”

There is indeed a lot to learn in the area of LED and phosphor panel technology and the digital control systems that drive them. However, Holder is uncertain whether all this progress is positive. “I worry sometimes we’re losing sight of the fact that the theatre can and should be a safe haven from the barrage of unrelenting ‘noise’ we encounter in our daily lives,” he says. “I hope that despite the inevitable changes we will confront moving forward, we won’t ever forget that less can still be more.”

Acknowledgements

The design team’s restraint enabled them to deliver a romantic Broadway show. Profiled firm: Donald Holder Lighting Design, Inc. 17 West 20th St., 6th Floor New York, NY 10011

Images: Photos courtesy of Joan Marcus. Vectorworks drawings courtesy of Don Holder Lighting Design, Inc. Photos feature Lead Actress Kelli O’Hara, Lead Actor Steven Pasquale, and Supporting Actor Hunter Foster.

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