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The Lighting Design for the 2009 Kent State University School of Theatre and Dance Production of Jane Eyre a Musical Drama

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The Lighting Design for the 2009 Kent State University School of Theatre and Dance Production of Jane Eyre a Musical Drama THE LIGHTING DESIGN FOR THE 2009 KENT STATE UNIVERSITY SCHOOL OF THEATRE AND DANCE PRODUCTION OF JANE EYRE A MUSICAL DRAMA A thesis submitted to the College of Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Fine Arts by Rosemarie Cruz May 2009 Thesis written by Rosemarie Cruz B.S., Florida Southern College, 2004 M.F.A., Kent State University, 2009 Approved by _________________________________, Advisor Cynthia Stillings _________________________________, Director, School of Theatre and Dance Cynthia Stillings ________________________________, Interim Dean, College of the Arts John R. Crawford ii TABLE OF CONTENTS Page TABLE OF CONTENTS ………………………………………………………………..iii LIST OF FIGURES………………………………………………………………...........iv ACKNOWLEDGEMENTS……………………………………………………………..vi INTRODUCTION ……………………………………………………………………......1 DIRECTOR’S CONCEPT………………………………………………………………...2 INTERPRETATION AND EXECUTION OF THE DESIGN CONCEPT……………....3 DESIGN CHALLENGES AND ISSUES………………………………………………...7 THE PRODUCTION PROCESS OF THE LIGHTING DESIGN ……………….……..11 EVALUATION OF THE LIGHTING DESIGN PROCESS………………………….....12 PERSONAL GROWTH AND LESSONS LEARNED……………………………..…...14 APPENDIXES A. Conceptual and Production Image………………………………………….........15 B. Lighting Cue List………………………………………………………………...32 C. Magic Sheet……………………………………………………………………...38 D. Color / Angle Diagram…………………………………………………………..39 E. Light Plot………………………………………………………………………...40 F. Section ………..…………………………………………………………………42 G. Area Layout……………………………………………………………………...43 H. Moving Light Area Layout………………………………………………………44 I. Channel Hookup…………………………………………………………………45 J. Instrument Schedule………………………………………………………..........55 K. Color Schedule…………………………………………………………………..67 L. Template Schedule…………………………………………………………........78 iii LIST OF FIGURES Figure Page 1. Concept Board #1……………………………………………………………......15 2. Concept Board #2……………………………………………………………......15 3. Figure #1- Young Jane alone in her attic..……………………………………….16 4. Figure #2 - Jane’s attic at Gateshead Hall.………………….…………………...16 5. Figure #3 - Lowood School (Scene change in background.)…………..………...17 6. Figure #4 - ‘Forgiveness’………………………………………………...……....17 7. Figure #5 – Graveyard (full stage)…………………………………….......…….18 8. Figure #6 – Graveyard (close up)…………………………………………...…...18 9. Figure #7 – Infirmary………………………………………………………...….19 10. Figure #8 – Upper Floor………………………………………………………....19 11. Figure #9 – Icy Lane (full stage without fog)………………………………...…20 12. Figure #10 – Icy Lane (close up without fog)………………………………...…20 13. Figure #11 - The Drawing Room……………………………………………......21 14. Figure #12 - The Grand Salon……………………………………………….......21 15. Figure #13 – Before Fire #1; Bertha at Rochester’s Bed……………………......22 16. Figure #14 - The Fire #1 (Rochester’s Bed)………………………………….....23 17. Figure #15 - After the fire in Rochester’s bedroom ………………………….....23 18. Figure #16 -‘My Hope of Heaven’…………………………………………........24 19. Figure #17 - Beginning of Act II………………………………………………...24 20. Figure #18 - Beginning of Act II with face light………………………………...25 21. Figure #19 - Mason’s entrance in Act II………………………………………...25 22. Figure #20 - ‘The Secrets of the House’………………………………………....26 iv 23. Figure #21 – Bertha’s attic at Thornfield manor……………………………...…26 24. Figure #22 – Bertha’s attic at Thornfield manor (close up)……………………...27 25. Figure #23 – The Fire #2 (Bertha sets attic on fire.)……………………………..27 26. Figure #24 – Bertha ‘floating’ in the flames……………………………………..28 27. Figure #25 – The Fire #3 (Consumes Thornfield)……………………………….28 28. Figure #26 – After the fire (Jane walked among the ensemble)…….…………...29 29. Figure #27 – Mrs. Reeds Death Bed………………………………………...…...29 30. Figure #28 – Burnt ruins of Thornfield 1………………………………………..30 31. Figure #29 – Burnt ruins of Thornfield 2………………………………………..30 32. Figure #30 – Finale………………………………………………………………31 v ACKNOWLEDGEMENTS I would like to thank my crew. They were some of the most talented people I have ever worked with. Thanks for the hard work and the five fingered discounts. Thank you to the lighting and sound employees, who provide the extra hands and time. Special thanks to the Great Lakes Theater Festival and Tammy Taylor for providing the low lying fog unit and fogger used in the show. They have always been generous about loaning their equipment to me and Kent State University. Thank you, to all the lighting professors, I have had though out my time here. I have learned a lot from all of them. Jim Beck: Thanks for being my professor and giving me my start. Jason Potts: Thanks for always being there when I needed you. Cindy Stillings: Thank you for always making time for me in your busy day. I appreciate everything you have taught me. For the friends who didn’t make it out. vi 1 INTRODUCTION This is the documentation of the lighting design process of the Kent State University School of Theatre and Dance 2009 production of Jane Eyre A Musical Drama, music and lyrics by Paul Gordon and book by John Caird. Jane Eyre A Musical Drama was presented in Stump Theatre, a proscenium stage located in the in the Music and Speech Center at Kent State University. This paper includes the director’s concept followed by the interpretation and execution of the design including the challenges presented and addressed during the design and production. The narrative detailing the execution of the design is divided into four sections followed by a self-evaluation of the design and process and appendices that include: research images, plot and paperwork and final production photographs. The production team consisted of the following individuals: Terri Kent – Director Benjamin Needham – Scenic Designer Rosie Cruz – Lighting Designer Sarah Russell – Costume Designer Jason Potts – Sound Designer Charles J. Richie – Vocal Coach Sam Shelton – Properties Designer Marty Simonsen and Nick Smith – Production Technical Directors Colleen Albrecht – Lighting Design Advisor Suzy Q. Campbell – Costume Design Advisor Marty Simonsen – Technical Direction Advisor Stephen Zapytowski – Sound Advisor Jason Potts – Lighting and Sound Supervisor Karl Erdmann – Production Manager and Scene Shop Supervisor Ryan Durfee – Assistant Lighting Designer Joe Burke – Automated Light Programmer and Co-Master Electrician Kristi Hangenbush – Co-Master Electrician Steve Meshenberg – Assistant Master Electrician 2 DIRECTOR’S CONCEPT Director Terri Kent stated that the production design was an expressionistic and picturesque abstraction of the Bronte novel. Her vision was inspired primarily by visual descriptions in the novel. Though much of the story is told through Jane, Kent also used the ensemble to help tell Jane’s story in both narrative song and movement. The story focuses on the themes of forgiveness, second chances, and undeniable love. The lighting design helped to create picturesque abstractions of the locations in the musical production. Caird’s script and Gordon’s score provided visual and musical cues as to how times, places, moods and atmospheres described in the novel could be abstracted visually by the production team. Kent’s interpretation and staging provided the direction in which to take the abstractions. The structure of the musical required the production to have visually seamless transitions in staging. 3 INTERPRETATION AND EXECUTION OF THE DESIGN CONCEPT One of the major goals of the lighting design for Jane Eyre was to help expressionistic stage elements project the psychological world of the play as seen through Jane’s eyes. The visual descriptions in Jane Eyre, the novel, informed a picturesque time, place, atmosphere and mood. The lyrics and score also informed time, space and visual themes of the production. The scenic design consisted of an asymmetrical unit set with two flying pieces and various pieces of abstracted furniture. Two archways were placed on different levels stage right and stage left. A rake flowing downward toward stage right was center. The arches represented various interior and exterior entrances and exits and were lit to expand location or to open the space in order to form a more complete “picture.” Single scenic items flew in to represent various locations. A chalk board defined the Lowood School. Picture frames flew in to represent the grand salon. Three benches and two chairs created the beds and headboards. When placed on the rake in two different heaps, the furniture defined the attic locations. Abstract trees of bubble wrap and erosion cloth created the stage picture of various exterior locations. The lighting design created the dark and foreboding atmosphere of ‘Icy Lane.’ The trees were part of the foreground as Jane walked amidst them. (see Figure #10) In the garden the trees were part of the background. They were placed upstage of the rake, creating an open atmosphere. The use of shadows was not prevalent in the garden scenes. The lighting design lit the fringes equally with the main acting space reinforcing the open atmosphere. The stage space was framed by two wall units downstage of the proscenium. Each 4 wall contained four windows, two windows above and two windows below created the illusion of a two story manor. The windows were lit from behind to create silhouettes and shadow play. (see Figure #8, Upper Floor) One of the challenges of the lighting design was to enhance the effect of the ensemble, a key abstract element in Jane’s world. They functioned as both storytellers and as the conveyers of Jane’s inner thoughts. The lighting of the ensemble was a mixture of the front template
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