DANCING AT LUGHNASA: The Memory Flowing with the Lighting

by Won-Kyoon Han M.A., Dept. of Drama and Cinema, Cheong-ju University, 2007

A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF

MASTER OF FINE ARTS

in

THE FACULTY OF GRADUATE STUDIES (Theatre)

THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver)

April 2013

© Won-Kyoon Han, 2013 Abstract

The purpose of this thesis is to document and describe the design process and final lighting design for the University of British Columbia (UBC) production of Dancing at Lughnasa. This play was written by Brian Friel. The production opened November 15th, 2012 in the Frederic Wood Theatre and ran until December 1st, 2012 as part of the Theatre at UBC 2012-2013 season.

The show was directed by John Cooper and stage managed by Cat Robinson. The creative team included Carolyn Rapanos (Set and Properties), Andrew Tugwell (Sound) and Stephanie Kong (Costume). The Lighting Design was facilitated by Clayton Brown and Zickey Zhao (Assistant Lighting), and UBC undergraduate theatre students.

The thesis begins with an introduction of the play. I then examine the progress of the lighting design, describing technically and conceptually how I developed a theme, a concept, and a plan. Finally, I summarize my own experience of the production. Images and photos of the design are included to support the explanations.

ii Table of Contents

Abstract ...... ii Table of Contents ...... iii List of Figures ...... v Acknowledgment ...... vi Dedication ...... vii 1. Introduction ...... 1 2. Design Process ...... 3 2.1 Initial Theme and Concept ...... 3 2.2 Meeting with Director and Set Designer ...... 4 2.3 A Theme, A Concept, and A Plan ...... 7 3. Design Development ...... 8 3.1 Analysis of The Set Design ...... 8 3.1.1 The Ceiling Units ...... 8 3.1.2 The Floor in The Cottage ...... 9 3.1.3 The White Backdrop ...... 9 3.1.4 The Grain Stalks and The Stone Fence ...... 9 3.1.5 The Floor of The Yard ...... 10 3.2 Discovering Challenges and Solutions ...... 11 3.2.1 The Biggest Challenge: The Grain Stalks ...... 11 3.2.2 Most Effective Solution: The Backdrop ...... 13 3.2.3 The Absence of The Walls ...... 15 3.2.4 An Ambush: The Ceiling Units ...... 16 3.2.5 Isolating Michael ...... 16 3.2.6 Grotesque Look for Jack’s dance ...... 18 3.2.7 A Tree ...... 19 Chapter 4: From Set Up To The First Performance ...... 21 Chapter 5: Conclusion ...... 23 Appendices ...... 24 Appendix A: Preliminary Cue Synopsis ...... 24 Appendix B: Sample of Blocking Note ...... 26 Appendix C: Sample of Preliminary Photometry ...... 28

iii Appendix D: Wish List ...... 30 Appendix E: Lighting Plot ...... 31 Appendix F: Instrument Schedule ...... 32 Appendix G: Channel Hook Up ...... 36 Appendix H: Color Schedule ...... 39 Appendix I: Magic Sheet ...... 42 Appendix J: Cue Sheet-Final Version ...... 43 Appendix K: Production Photos ...... 48

iv List of Figures

Figure 2.1: Color Rendering of The Initial Set Design ...... 4 Figure 2.2: Sketch of The Set Design - Second Draft ...... 4 Figure 2.3: Example of Shadows and Silhouettes with The Grain Stalks ...... 6 Figure 3.1: The Set Model ...... 8 Figure 3.2: The Color Rendering of The Floor ...... 10 Figure 3.3 Test of Casting Shadow of The Grains ...... 11 Figure 3.4: The Grain Stalks - Monologue ...... 12 Figure 3.5: The Grain Stalks - Regular ...... 12 Figure 3.6: The Backdrop - Monologue ...... 13 Figure 3.7: The Backdrop - Act One ...... 14 Figure 3.8: The Backdrop - Act Two ...... 14 Figure 3.9: The Window Gobo Effect ...... 15 Figure 3.10: The Ceiling Units Covered with Gobo ...... 16 Figure 3.11: Source Four Follow Spot Kit ...... 17 Figure 3.12: Installed Source Four Follow Spot ...... 17 Figure 3.13: Different Looks in The Same Scene Between Michael and Kate ...... 18 Figure 3.14: End of Act One - Uncle Jack Drumming ...... 19 Figure 3.15: The Leaf Gobos ...... 20 Figure 4.1: The Sample of Lighting Change Sequence ...... 22

v Acknowledgment

I would like to express my gratitude to Mr. Robert Gardiner and Mr. Brad Powers for their long term support, to Mr. Keith Smith and Mr. Jim Fergusson for their unlimited advice and support, and to Mr. John Cooper, Ms. Carolyn Rapanos, Mr. Andrew Tugwell, Ms. Stephanie Kong, and Ms. Cat Robinson for the opportunity to work on this production with such a great creative team. I would also like to thank the following individuals and organizations: The electrics crew including, Mr. Matthew Norman, Mr. Clayton Brown, Ms. Zickey Zhao, Mr. Chengyen Boon, Ms. Rebecca Burks, Ms. Hanaka Ebi, Ms. Diane Chu, Mr. Daniel Tessy, and Mr. Aiden McCann. The staff in the Department of Theatre including, Mr. M. Norman Young, Mr. Jay Henrickson, Ms. Deb Pickman, and Mr. Gerald van der Woude .

vi Dedication

To my mother who believes in my potential, supports my life, advises my works, and always loves me.

vii 1. Introduction

Dancing at Lughnasa, by Brian Friel (January 1929 ~), an Irish dramatist, author and director, was first performed at the Abby Theater, in Dublin, in April 1990. It has become one of the most successful and universally acclaimed plays of the decade, earning its author, director and cast the most prestigious awards in Britain, the US and Australia. In 1998, Dancing at Lughnasa was adapted to the screen in a film directed by Pat O'Connor and starring Meryl Streep. This play is loosely based on the lives of Friel's mother and aunts who lived in Glenties on the west coast of Donegal. Lughnasa is a traditional Gaelic harvest festival celebrated on the first of August in honor of Lugh, the deity of storms and lightning, who triumphed over the sprits of the underworld. Dancing at Lughnasa is a memory play. Michael recalls the time of the Festival of Lughnasa in 1936 when he was seven years of age and lived with his mother, Chris, and her four sisters , including Kate, Maggie, Rose, and Agnes, in Ballybeg, Donegal. The play opens with a monologue by Michael. He introduces his mother and aunts, their first wireless radio nicknamed "Marconi" (which only works intermittently, bringing 1930s dance and traditional Irish folk music into the home at rather random moments and then equally randomly ceases to play), and Michael's uncle Jack, who has been a missionary in a leper colony in Uganda for the past twenty - five years, and has recently returned home. Michael also explains that he was a child born out of wedlock, and had only seen his father, Gerry Evans, a few times. Michael appears several times in the play addressing the audience directly in a series of monologues that introduce, explain, and conclude the story. In these monologues Michael explains to the audience the circumstances and history of his family, the eventual fate of each of the characters, and the significance of these memories. The entire play is thus presented as a depiction of Michael's nostalgic memories of this particular period in his childhood. A central theme of Dancing at Lughnasa is memory. The action of the play, which takes place in the later summer of 1936, is framed as a depiction of Michael's childhood memories. A good example of this is his closing monologue, where the character of Michael as a young man explains the significance of these memories:

1 “And so, when I cast my mind back to that summer of 1936, different kinds of memories offer themselves to me. But there is one memory of that Lughnasa time that visits me most often; and what fascinates me about that memory is that it owes nothing to fact. In that memory atmosphere is more real than incident and everything is simultaneously actual and illusory. In that memory, too, the air is nostalgic with the music of the thirties.”

Act.2 Page 71

Brian Friel is interested in personal memory not as a means of reproducing factual incidents, but as a means of recapturing the atmosphere of the memory. Thus, for Friel, memory is simultaneously actual and illusory, because it is true to the emotional content of the memory without necessarily being true to the actual events that took place. Music is central to Friel's play because of the extent to which he associates nostalgic memories with the music of the thirties.

2 2. Design Process

2.1 Initial Theme and Concept

On the first page of script, stage direction says: Around the stage and at a distance from Michael the other characters stand motionless in formal tableau. ~ They hold these positions while Michael talks to the audience.

At the beginning of the play, Michael’s monologue starts with: “When I cast my mind back to that summer of 1936 different kinds of memories offer themselves to me.~”

The effect of this monologue is as if Michael is telling us his family story with his old photos. During the reading of the monologue, I imagined old photos of my family: there were my mother, aunts, and grandmother. They looked very young and energetic in an already faded nostalgic photo, which was filled with amber and scratches. At the end of the play, the stage direction explains: The Characters are now in positions similar to their positions at the beginning of the play~

This play begins and ends with Michael's monologue, and during his monologue the audience will see the same tableau. I thought “nostalgic photo” can bring up the image of the tableau. Therefore, “nostalgic photo” was set as my first theme. After my initial reading of the script, I recalled my childhood, and the memory was so warm and peaceful. I feel my present experience is much colder than my childhood. The present is cold, quiet and lonely, but the past is warm, boisterous and together. It was a really strange feeling, and I decided to use this contrast in the lighting concept. When “contrast” came as an initial concept in my mind, I researched paintings and photos, and I was mesmerized with Edvard Munch’s “The Scream.” The Scream is very popular painting, but I had not been interested in this painting before. In the painting, there are dark orange clouds floating, and deep blue river flowing. The combination of amber and blue means cold and warm to me. In addition, the centre person looks much colder than the background.

3 2.2 Meeting with Director and Set Designer

I met set designer Carolyn Rapanos before meeting with director John Cooper. She showed me beautiful set sketches. Carolyn’s set was beautiful, with lovely decorative elements in the cottage, rows of grain stalks as exterior of the cottage, a square white backdrop, and three big ceiling units. (Figure 2.1: Color Rendering of The Initial Set Design and Figure 2.2: Sketch of The Set Design - Second Draft)

Figure 2.1: Color Rendering of The Initial Set Design

Figure 2.2: Sketch of The Set Design - Second Draft

4 I was glad that the cottage was designed without walls. The absence of walls gave me more opportunity for atmospheric lighting inside the cottage. And the ceiling pieces were a great design choice, but they presented a special challenge for designing general light in the cottage. Moreover, the grain stalks and white backdrop suggested that I could create different lighting atmospheres. She explained a painting plan: the cottage floor would be stone, and outside would be soil and mown grass. She and I had very similar color ideas for the contrast between inside and outside. The existence of two contrasting moods or ideas can suggest conflict, and that conflict can suggest another atmosphere. The contrast of the cold cottage interior and warm exterior along with the contrast of the present and the past are like the thesis-antithesis-synthesis paradigm of the Hegelian Dialect. I got a very simple but strong concept of lighting color from that meeting: using two different color tones to make two different images for present and past, and inside and outside. I thought this concept could give a clear image to the audience, and I realized that this concept was not wrong after the first meeting with the director John. From the director’s notes: The dramatic conflicts of this play argue governing religion against a more organic paganism, the natural against the civilized, obediency against insurrection, order against chaos, structure against inevitable collapse. ~ And from these conflicts arise questions I find deeply meaningful, indeed necessary. ~ How do we walk through change? ~

When he explained this idea, he told me what he thought about the image of the first tableau. He told me that a low lighting angle with amber light for the stalks of grain in the yard could cast long shadows, creating an effect of sunset in harvest season. Nevertheless, Michael should be lit with cool tones. Michael would be inside of the cottage, so this area could be cool also. Furthermore, whenever adult Michael comes for monologues, the stage lights should change to the first tableau. I discussed my color concept with John, and he agreed with it, so I defined my concept of color. John also wanted to make a grotesque look for the end of Act One during Michael’s monologue, when Uncle Jack plays drum with two kite sticks and performs a Ugandan ceremonial dance. I understood this part as the scene with the most dramatic

5 conflict. Past and present, catholicism and paganism, Uganda and Ireland, warm and cold, and life against death, are all in conflict. Other than these special scenes, John asked me to make very natural looks. There is very famous dance scene in the middle of Act One. I wanted to emphasize that scene somehow, because the scene takes almost three minutes and is very fascinating, but John didn’t want to do something special even for this scene. I suggested emphasizing the scene a few more times, and he finally accepted some part of my ideas. John gave me a chance to use the backdrop as drawing paper, and he liked low angle lights on the grain stalks. Carolyn, the set designer, said that she tried to strike a balance between realistic and stylized. She also tried to add some organic, beautifully chaotic, and warm shapes to contrast with the more unsaturated and cold interior of the cottage. She thought it would be great to see what I might be able to do with shadows and silhouettes of the grain stalks. She sent a photo (Figure 2.3: Example of Shadows and Silhouettes with The Grain Stalks) representing the concept, and John suggested that the lights create an effect similar to this photo.

Figure 2.3: Example of Shadows and Silhouettes with The Grain Stalks

6 2.3 A Theme, A Concept, and A Plan

I made a concrete concept (contrast) and theme (old photo), for the lighting design. After meeting with John, I read the script few more times and watched many movies, to visually explore my theme. I got a really good idea from the movie The Phantom of The Opera (2004, directed by Joel Schumacher). The first scene of the movie is black and white, and as the famous chandelier flies up, the image is transformed into full color. I thought this scene is very similar to Dancing at Lughnasa’s first scene because both begin in the present and jump to the past. I decided to use this effect whenever Michael starts and finishes his monologues. I thought Michael should be isolated by using a different angle of light for him. In my opinion, this would make clear images for the audience and also create good contrast between past and present. However, this change should be very smooth and slow, like falling into nostalgia. Jennifer Tipton once said : 99% of the audience will not see the lighting, but 100 % will feel it.

I wanted to implement this idea. Very quiet, smooth, and natural - but very definite - changes were in my mind as the plan for the lighting transitions. The concept and the theme were supported by this plan. I explained to John about this plan and he liked it, so I was able to start expanding the design idea and developing a lighting plot.

7 3. Design Development

3.1 Analysis of The Set Design

Carolyn brought a set model to the first read through. (Figure 3.1: The Set Model)

Figure 3.1: The Set Model

I explored the set design to get more effective ideas. It was divided into two parts; the cottage and the yard. The cottage could be separated into the ceiling units and floor, and the yard could be separated into the white backdrop, the grain stalks, the stone fences, and the floor.

3.1.1 The Ceiling Units

When John and I discussed the movement between the main acting areas, such as from the cottage to the yard and vice versa; we decided the lighting was to follow

8 these transitions imperceptibly. I wanted to add some more effects to this lighting shift, so I chose the ceiling units. As the acting focus moved outside the cottage, my plan was to light the ceiling units with gobos, which would disappear when the focus moved to the cottage again.

3.1.2 The Floor in The Cottage

The cottage’s floor looked cold already. The inside of the cottage needed three different looks. The first was for Act One, which is a warm day, but according to my concept the cottage should be colder than outside. The second was for Act Two, which needed to be warmer than Act One, and the third was for Michael’s monologues. Therefore, I needed warm and cold for general lighting, and specials for the monologues.

3.1.3 The White Backdrop

Everything in the set was natural and organic, except the white backdrop. Even if the cottage didn’t have walls, everybody knew it was a cottage, but the white backdrop was incongruous. On the one hand the backdrop didn’t have any natural or organic things, and also it didn’t have any symbols, but on the other hand, this set piece could be made into anything by lighting. I planned to use this as a starting point to change scenes. After trying this idea, John didn’t like my plan and asked me to start the lighting changes from Michael, because he thought the audience would lose their focus on the actors, and I agreed.

3.1.4 The Grain Stalks and The Stone Fence

As I discussed with John at the first meeting, I wanted to create lighting similar to the grains photo. (Figure 2.3, p.6) In addition, I wanted to try side lights to emphasize the grain. In fact, these were the hardest goals to accomplish; I wasn’t able to create the effects of Carolyn’s photo, and had to choose a second plan. Nonetheless, the second plan was good enough to evoke nostalgia.

9 3.1.5 The Floor of The Yard

Carolyn also sent me the floor color rendering of the yard. (Figure 3.2: The Color Rendering of The Floor)

Figure 3.2: The Color Rendering of The Floor

She added Ugandan symbols around the edge. I thought about using gobos with these symbols for the end of Act One, when Uncle Jack drums and dances. However, I did not end up using this effect because of blocking. Uncle Jack danced a bit far from the symbols, and I didn’t like the idea of making his area wider. In terms of lighting looks, the yard needed; warm day look for Act One, evening look for Act Two, and unrealistic look for Michael's monologues.

10 3.2 Discovering Challenges and Solutions

I discovered several technical challenges in the set and the lighting ideas. The lighting challenges arising from the set ideas included the grain stalks, the backdrop, the absence of walls, and the ceiling units. Technical challenges arising from the lighting ideas included isolating Michael, different looks for the present and the past, the creation of a tree, and the grotesque look for Jack’s dance.

3.2.1 The Biggest Challenge: The Grain Stalks

As discussed above, I could not make the effect that John and Carolyn wanted to have for long shadows of grain. After doing simple photometries, I realized it wasn’t possible to re-create exactly the same effect as the photo. I tried a test to make big shadows in front of the grain. (Figure 3.3: Test of Casting Shadow of The Grains)

Figure 3.3: Test of Casting Shadow of The Grains

This test showed that it was difficult to see the shadows. However, I liked the effect of side lighting, so I decided to use side light without any color, and I added top

11 light with amber. This combination created a sufficiently unreal atmosphere. Fortunately John and Carolyn understood the challenge of the situation, and they liked the solution. (Figure 3.4: The Grain Stalks - Monologue and Figure 3.5: The Grain Stalks - Regular)

Figure 3.4: The Grain Stalks - Monologue

Figure 3.5: The Grain Stalks - Regular

12 3.2.2 Most Effective Solution: The Backdrop

I asked Carolyn to use a scrim for the backdrop, because I thought light on both sides of a scrim could create more beautiful looks. However, due to budget, the piece was built of wood and painted, so I could not use any backlight. I used LED Seladors as front light to smoothly change colors on the backdrop and create a more effective atmosphere. I also used two different gobos for present and past, and cast shadows of the grains on the backdrop. (Figure 3.6: The Backdrop - Monologue, Figure 3.7: The Backdrop - Act One, and Figure 3.8: The Backdrop - Act Two)

Figure 3.6: The Backdrop - Monologue

13 Figure 3.7: The Backdrop - Act One

Figure 3.8: The Backdrop - Act Two

14 3.2.3 The Absence of The Walls

The absence of walls in the cottage made me happy at first, but I realized later it was complicated for general lighting both inside and outside the space. I needed to use many ERS lights (Ellipsoidal Reflector Spotlight, such as a Source Four) to make a boundary line for the imaginary walls. According to the photometric studies (Appendix C), a shutter cut of ERS at the boundary line would cause dark spot for actors if the lights were hung in the most convenient positions. I tried to soften lights from FOH 2, so even when they spilled over the edge of the cottage floor, the audience would not notice it. As a result, there were few dark spots. I suggested that John change some blocking to avoid a particular dark spot, and he made the change. The stage directions require that the cottage have a window, but without walls we needed a window gobo, which made a dynamic look in the cottage. (Figure 3.9: The Window Gobo Effect) I used the window gobo all the time except for the monologue scenes.

Figure 3.9: The Window Gobo Effect

15 3.2.4 An Ambush: The Ceiling Units

The ceiling units were challenging for lighting. The pieces were located diagonally across the stage from left to right, and I was not able to do a definitive photometric study on paper because angle of the ceiling units could be changed during set up. So my solution was to add extra lights. I added too many lights to focus in the available time, so I deleted several from the lighting plot. During cue to cue, I noticed that there were many dark spots in the cottage. The Technical Director, Keith Smith, suggested that we hang a few more lights on FOH one, and this worked well. As previously mentioned, I also lit the ceiling pieces with gobos for a more effective lighting shift between inside and outside. (Figure 3.10: The Ceiling Units Covered with Gobo)

Figure 3.10: The Ceiling Units Covered with Gobo

3.2.5 Isolating Michael

The lighting change from present to past and past to present was the most important factor in the lighting design for this show. Michael has a total of five

16 monologues, during which I wanted to isolate Michael from the set and other actors. He moved during his monologues, so top light was not helpful at all. The first solution was to use a follow spot with a color filter, so that he would look colder than the other actors. The Frederic Wood Theatre has two follow spots, but I didn’t want to use these. In my opinion, they would have destroyed the mood, and would have made Michael appear flat. Instead, we borrowed a Source Four follow spot kit. I have always been interested in using a Source Four as a follow spot, and was glad to have an opportunity to use it for this show. (Figure 3.11: Source Four Follow Spot Kit)

Figure 3.11: Source Four Follow Spot Kit

Figure 3.12: Installed Source Four Follow Spot

17 We installed this fixture at the centre of FOH 2 with a 19 degree lens tube, doughnut, and Lee 203 color filter. (Figure 3.12: Installed Source Four Follow Spot) I also tried not to light the other characters’ faces during the monologues: I used Source Four PAR top lights for each actor. ( Figure 3.13: Different Looks in The Same Scene Between Michael and Kate)

Figure 3.13: Different Looks in The Same Scene Between Michael and Kate

3.2.6 Grotesque Look for Jack’s dance

I made three different gobos of Ugandan symbols, and used two kinds of color filters. I also needed to add top lights for Jack, but I didn’t like using a cone shaped beam. Strong and straight beams would be best in this area, I thought. I tried using a Beam Projector, a lensless lighting fixture with very little beam spread. The effect of the Beam Projector was what I wanted. (Figure 3.14: End of Act One - Uncle Jack Drumming)

18 Figure 3.14: End of Act One - Uncle Jack Drumming

3.2.7 A Tree

The stage directions require a sycamore tree that sways when Gerry goes up the tree to fix the radio. However, there was no tree in our set, so we needed something representing a tree. I made a plan to use a leaf gobo and make it seem to sway by using an I-Cue. Also, Carolyn had a plan to drop sycamore leaves from the gallery above the stage. John thought that two effects were too much for one short moment, and he asked me cut my idea, so I used two fixed leaf gobos down stage left. (Figure 3.15: The Leaf Gobos)

19 Figure 3.15: The Leaf Gobos

20 Chapter 4: From Set Up To The First Performance

After the first stumble through, I started to write a cue synopsis (Appendix A), based on the blocking notes (Appendix B) and analysis of the set, and I sent the synopsis to John. He liked the cue progression, and again requested more theatrical looks for the monologue scenes. The synopsis gave me a wish list of the lighting fixtures needed to accomplish my conceptual ideas. (Appendix D) With my wish list, I was ready to being drafting. I used Vectorworks Spotlight 2012 for my lighting plot. (Appendix E) I am not entirely comfortable using Vectorworks, but it allows one to easily create all the required paper work. The instrument schedule, channel hook up, and color schedule in Vectorworks can be copied and pasted to Excel or other programs. (Appendix F through H) I also made a magic sheet in Vectorworks. (Appendix I) A magic sheet is always helpful during lighting programming, so I usually spend time to make a clear one. The hang and focus was done by a student crew led by Clayton Brown and myself, been under the supervision of production staff members Keith Smith and Jim Fergusson. I expanded my cue synopsis into cue sheets. Shortly after that, I attended a paper tech session with the director, stage manager, and sound designer to discuss the placement and calling of the lighting and sound cues. From that meeting, I made final cue sheets (Appendix J) and pre programmed the lighting board, following the cue sheets. I set light levels with John after I programed initial looks in the board. I was glad that he liked most of the lighting looks. He wanted me to change the starting point of the lighting shift from the present to past, and I did so, and I concentrated on emphasizing the lighting change between the present and the past. (Figure 4.1: The Sample of Lighting Change Sequence) During cue to cue and technical rehearsals, I had several notes from John, mostly to make longer fade times for emphasis shifts when scenes went outside and then back into the cottage. I continued to finesse the times for lighting shifts until the first performance.

21

Photos by Won-Kyoon Han

Figure 4.1: The Sample of Lighting Change Sequence

22 Chapter 5: Conclusion

To visualize a concept is always a challenge, especially when the concept must be clear for many unspecified people in an audience. The main lighting concept of Dancing at Lughnasa was “contrast.” I developed all the design ideas based on this concept, which I thought would make very clear images. I don’t know if the idea was clear for everyone in the audience, but from my point of view the design progress resulted in a communication of visual contrasts in the lighting. Lighting design for Dancing at Lughnasa really helped remind me how to face a play’s ideas. As Michael looks back on his childhood, I reviewed my past designs. For a while, when I designed a show, I focused on creating good-looking effects, and then found a well-fitted concept for that effect. The reason I chose this path was that I thought it created a good lighting state faster. I always used the same idea in every show and was in a dilemma about how to find new ideas. Finally, I met this masterpiece, Dancing at Lughnasa, which reminded me how important it is to walk on the right path for art. I was really lucky to have a chance to work with director John Cooper. He always waited for my answers, and accepted ideas. The entire artistic collaboration with the director and other designers was great, and all of the technical aspects of the process occurred smoothly without incident. This experience has not only reminded me of the way of lighting design, but also has shown me more possibilities to improve my theatrical life. Dancing at Lughnasa remains as the best play for me.

23 Appendices

Appendix A: Preliminary Cue Synopsis

Q P Line/Action Description Note House))+)Preset (Gobo)on)the)side)of)Roof/) 1 # House)open Back)drop#Amber,)Grain)shadow/ Window)Gobo) 2 # House)to)half House)50%

3 # House)out Black)out Michael)area)Blue/ Michael)follow/ Back)drop#Blue,)Grain)shadow/ 11 1 SM)Q Slowly)and)separately) Grain)side,)shadow)gobo/ Blue)from)SL/ Window,)side)lights)(Amber))on)Character 4th)line 13 2 Michael)area)dim)down Follow)spot)move Michael#”And)when)I)cast~” Follow)spot)out/ 28th)line 14 2 Back)drop)change)to)sky/ Slowly)and)separately Michael#”~to)observe)him.” All)lights)change)to)Act.1)basic Back)drop)change)to)grain)shadow/ Michael)follow/ 17th)line House,)Outside)dim)down/ 15 8 Maggie#”~tchook# Slowly)and)separately House)window)gobo/ tchookeeeee...” Blue)on)Outside/ Grain)side,)Roof)gobo/ 6th)line 17 9 same)as)Q14 Smoothly)but)rapidly Michael#”~out)of)wedlock.” 3rd)line House)colder/ 19 20 Slowly Maggie#”#it)was)this)time~” Outside)general)wash)dim)down)bit 19th)line 20 21 Amber)on)House)and)table)lights)up Very)slowly Maggie#”Yaaaah” 22 22 Music)stops same)as)Q19)but)warmer Rapidly 8th)line Outside)lights)up)as)Q14/ 23 26 Till)Gerry)enters Maggie#”In)the)garden” House)colder)(Dim)down) 25 34 Chris)and)Gerry)out same)as)Q22 Slowly 13th)line 27 36 same)as)Q14 Till)Chris)enters Maggie#”...Kate,)love...” 4th)line 29 37 same)as)Q22 Slowly Chris#”~your)mother’s)eye!”

24 Q P Line/Action Description Note Back)drop)change)to)grain)shadow/ Michael)follow/ 18th)line House,)Outside)dim)down/ 31 41 Slowly)and)separately Kate#”~cardigan?” House)window)gobo/ Blue)on)Outside/ Grain)side,)Roof)gobo/ Amber)on)Jack/ Uganda)pattern/ 33 42 Jack)picks)up)sticks Separately Grain)shadow)gobo/ Side)on)Jack 30th)line 35 42 Michael#”~into)a) same)as)Q14 depression.” End)of)line 37 42 Black)out Kate#”~go)for)our)walk” 39 # SM)Q Intermission)+)House)in

50 # SM)Q Intermission)+)House)out *Basically)the)same)as) Act.2)basic/ 51 43 SM)Q Act.1)basic)but)more) House)brighter)than)Outside amber)and)darker 33rd)line 53 49 Maggie#”~Military)Two# Outside)lights)up Slowly step.” 32nd)line 55 53 Branch)sway)starts Agnes#”~I’m)telling)you.” 57 54 Agnes)dashes)in)to)the)house Branch)stops Agnes)leads)her)into)the) House)colder/ 59 57 Very)slowly house Outside)general)wash)dim)down)bit Back)drop)change)to)grain)shadow/ Michael)follow/ 25th)line 61 59 House,)Outside)dim)down/)House)window) Slowly)and)separately Kate#”~heads)ever)again...?” gobo/ Blue)on)Outside/)Grain)side,)Roof)gobo/ 31st)line 63 61 Same)as)Q)53 Smoothly)but)rapidly Michael#”~to)myself” 21st)line 65 70 Maggie#”~God,)I’ve) Same)as)Opening Slowly)and)separately forgotten!”

67 71 End)of)line Black)out Slowly)and)separately

69 # SM)Q Curtain)call

70 # SM)Q Black)out)on)Stage)+)House)

25 Appendix B: Sample of Blocking Note

26 27 Appendix C: Sample of Preliminary Photometry

VECTORWORKS EDUCATIONAL VERSION

Dancing at Lughnasa - Photometric

FOH 2 - Strand 6x12 Yard - General wash

VECTORWORKS EDUCATIONAL VERSION

28 VECTORWORKS EDUCATIONAL VERSION

Dancing at Lughnasa - Photometric

FOH 1 - Source 4 50 Cottage - General wash

VECTORWORKS EDUCATIONAL VERSION

29 Appendix D: Wish List Item Name Inventory Amt Used Remaining 8_4BD 0 9 -9 6_4BD 0 16 -16 6_TH 0 6 -6 Etc Source 4 26° 28 16 12 Etc Source 4 36° 22 12 10 Etc Source 4 50° 16 16 0 Source 4 PARNel 6 5 1 Source 4 PAR NSP 6 6 0 Selpa21 7 5 2 6" Fresnelite 14 11 3 8" Fresnelite 18 16 2 Alt6x12 16 5 11 Alt6 x 9 17 5 12 Etc Source 4 19° 13 1 12 PAR 64 Body 16 13 3 External Moving Mirror 7 1 6 E3_5x12 10 9 1 16BP 4 3 1 3" Fresnel 0 2 -2 8_2BD 0 0 0

30 31 Appendix E: Lighting Plot Appendix F: Instrument Schedule

Position Unit # Dimmer Inst Type Color Wattage Channel Purpose FOH 1 1 74 Source 4 50deg R119 575W 11 PA White 2 71 Source 4 36deg R132 575W 31 House Front 3 69 Source 4 50deg R119 575W 12 PA White 4 67 Source 4 50deg R09/132 575W 45 PA Warm 5 68 Source 4 36deg R132 575W 32 House Front 6 66 Source 4 50deg R119 575W 13 PA White 7 64 Source 4 36deg R132 575W 33 House Front 8 65 Source 4 50deg R09/132 575W 46 PA Warm 9 62 Source 4 50deg R119 575W 14 PA White 10 61 Source 4 50deg R09/132 575W 47 PA Warm 11 59 Source 4 50deg R119 575W 15 PA White 12 55 Source 4 50deg R09/132 575W 48 PA Warm

FOH 2 1 34 Strand 6x12 R119 750w 6 Apron white 2 33 Alt 360Q 6x12 R119 750W 1 Apron white 3 30 Strand 6x12 R119 750w 7 Apron white 4 32 Alt 360Q 6x12 R119 750W 2 Apron white 5 27 Strand 6x12 R09/132 750w 41 Apron warm 6 29 Strand 6x12 R119 750w 8 Apron white 7 28 Source 4 19deg R132/3208 575W 100 Follow spot 8 26 Alt 360Q 6x12 R119 750W 3 Apron white 9 25 Strand 6x12 R09/132 750w 42 Apron warm 10 21 Strand 6x12 R119 750w 9 Apron white 11 22 Alt 360Q 6x12 R119 750W 4 Apron white 12 23 Strand 6x12 R09/132 750w 43 Apron warm 13 19 Strand 6x12 R119 750w 10 Apron white 14 20 Alt 360Q 6x12 R119 750W 5 Apron white 15 18 Strand 6x12 R09/132 750w 44 Apron warm

DS Bridge 2 120 Source 4 50deg OW 575W 28 DSL GW 3 118 S4 PAR NSP R20 575W 136 Tableau top 4 115 Source 4 36deg L202 575W 71 House Cool 5 114 Source 4 50deg OW 575W 29 DSL GW 6 111 PAR 64 R83 1Kw 83 House Warm Back 7 110 Source 4 50deg OW 575W 156 Roof touch 8 107 6" Fresnelite OW 1Kw 16 DSL GW 9 104 Source 4 36deg R132 575W 37 Door area 10 102 8" Fresnelite R09 1Kw 49 SR Warm 11 100 Source 4 26deg R41 575W 143 Uganda Shape 12 97 Source 4 26deg R23 575W 115 B Grain shadow 12 99 Source 4 26deg R41 575W 144 Uganda Shape 13 98 Source 4 26deg R41 575W 145 Uganda Shape 14 96 8" Fresnelite OW 1Kw 17 DSL GW 15 95 8" Fresnelite R09 1Kw 50 SR Warm

32 Position Unit # Dimmer Inst Type Color Wattage Channel Purpose 16 93 PAR 64 R83 1Kw 82 High side Blue

US Bridge 1 106 Source 4 26deg R23 575W 112 I Grain shadow 2 121 Source 4 26deg OW 575W 152 Tree 2 92 Source 4 26deg R23 575W 116 C Grain shadow 3 119 Source 4 26deg OW 575W 153 Tree 4 117 Source 4 36deg L202 575W 72 House Cool 5 116 Source 4 50deg OW 575W 157 Roof touch 6 113 Beam projector R357 500w 138 Michael top 7 112 6" Fresnelite R02 1Kw 61 House Warm 8 108 PAR 64 R357 1Kw 88 Lavender wash 9 103 Source 4 26deg R20 575W 137 Tableau top

LX1 1 139 Source 4 36deg L202 575W 73 House Cool 2 138 Source 4 50deg OW 575W 158 Roof touch 3 141 6" Fresnelite OW 1Kw 34 House GW 4 135 6" Fresnelite R02 1Kw 63 House Warm 5 134 6" Fresnelite L202 1Kw 74 House Cool 6 140 6" Fresnelite OW 1Kw 35 House GW 7 136 6" Fresnelite R02 1Kw 62 House Warm 8 126 PAR 64 R357 1Kw 89 Lavender wash 9 127 S4 PAR NSP R20 575W 133 Tableau top 10 128 8" Fresnelite OW 1Kw 18 CSR GW 11 129 Source 4 36deg OW 575W 161 Window 12 123 S4 PAR NSP R20 575W 132 Tableau top 13 122 8" Fresnelite OW 1Kw 19 CSR GW 14 124 8" Fresnelite R09 1Kw 51 SR Warm 15 125 PAR 64 R83 1Kw 84 High side Blue

LX2 1 171 Source 4 PARNel R362 575W 125 House Tableau 2 163 6" Fresnelite L202 1Kw 75 House Cool 3 172 6" Fresnelite OW 1Kw 36 House GW 4 166 6" Fresnelite R02 1Kw 64 House Warm 5 161 8" Fresnelite OW 1Kw 20 CSR GW 6 173 PAR 64 R357 1Kw 90 Lavender wash 7 169 8" Fresnelite OW 1Kw 21 CSR GW 8 160 8" Fresnelite R09 1Kw 52 SR Warm 9 167 S4 PAR NSP R20 575W 134 Tableau top 10 168 8" Fresnelite OW 1Kw 22 CSR GW 11 170 8" Fresnelite R09 1Kw 53 SR Warm 12 162 PAR 64 R83 1Kw 85 High side Blue

LX3 1 154 6" Fresnelite OW 1Kw 23 USR GW 2 156 PAR 64 R357 1Kw 91 Lavender wash 3 155 8" Fresnelite OW 1Kw 24 USR GW 4 157 PAR 64 R57 1Kw 97 House Warm Back 5 146 8" Fresnelite OW 1Kw 25 USR GW

33 Position Unit # Dimmer Inst Type Color Wattage Channel Purpose 6 165 8" Fresnelite R09 1Kw 54 SR Warm 7 152 S4 PAR NSP R20 575W 135 Tableau top 8 147 8" Fresnelite OW 1Kw 26 USR GW 9 153 8" Fresnelite R09 1Kw 55 SR Warm 10 164 PAR 64 R83 1Kw 86 High side Blue

LX4 1 149 PAR 64 R57 1Kw 96 House Warm Back 2 150 Source 4 50deg OW 575W 162 Backdrop cloud 3 301 Selador 216 201 Backdrop colour 4 321 Selador 216 202 Backdrop colour 5 341 Selador 216 203 Backdrop colour 6 361 Selador 216 204 Backdrop colour 7 381 Selador 216 205 Backdrop colour 8 148 Source 4 36deg L200 575W 163 Backdrop touch

SL Arch 1 89 Alt 360Q 6x9 R132 750W 103 J Grain side

SL 1 90 Source 4 26deg R23 575W 113 J Grain shadow Boom-1

SL Door 1 85 Source 4 26deg R132 750W 102 I Grain side Boom 2 82 PAR 64 R357 1Kw 87 House Warm Back

SL FOH 1 1 54 Source 4 26deg R132 750W 101 H Grain side Boom 2 51 Source 4 26deg R23 575W 111 H Grain shadow

SL 1 143 Source 4 PARNel R362 575W 124 House Tableau Gallery 2 144 Source 4 PARNel R362 575W 121 House Tableau 3 142 Source 4 PARNel R362 575W 122 House Tableau 4 145 Source 4 PARNel R362 575W 123 House Tableau

SR Arch 1 86 Alt 360Q 6x9 R132 750W 106 C Grain side

SR 1 87 Alt 360Q 6x9 R132 750W 107 D Grain side Boom-1

SR 3 130 Alt 360Q 6x9 R132 750W 108 E Grain side Boom-2

SR 4 193 Alt 360Q 6x9 R132 750W 109 FG Grain side Boom-3

SR Door 1 78 Source 4 26deg R132 750W 105 B Grain side Boom 2 76 S4 PAR NSP R20 575W 131 Tableau top 3 75 PAR 64 R83 1Kw 81 High side Blue

34 Position Unit # Dimmer Inst Type Color Wattage Channel Purpose

SR FOH 1 50 Source 4 26deg R132 750W 104 A Grain side 1 Boom 2 47 Source 4 26deg R23 575W 114 Grain shadow

SR 1 131 Source 4 26deg R23 575W 117 D Grain shadow Gallery 3 132 Source 4 26deg R23 575W 118 E Grain shadow 4 133 Source 4 26deg R23 575W 119 FG Grain shadow

Ground 1 194 3" Fresnel OW 100W 110 Backdrop shadow 2 194 3" Fresnel OW 100W 110 Backdrop shadow

35 Appendix G: Channel Hook Up

Ch. Dim Inst Type Wattage Color Position Unit # Purpose 1 33 Alt 360Q 6x12 750W R119 FOH 2 2 Apron white 2 32 Alt 360Q 6x12 750W R119 FOH 2 4 Apron white 3 26 Alt 360Q 6x12 750W R119 FOH 2 8 Apron white 4 22 Alt 360Q 6x12 750W R119 FOH 2 11 Apron white 5 20 Alt 360Q 6x12 750W R119 FOH 2 14 Apron white 6 34 Strand 6x12 750w R119 FOH 2 1 Apron white 7 30 Strand 6x12 750w R119 FOH 2 3 Apron white 8 29 Strand 6x12 750w R119 FOH 2 6 Apron white 9 21 Strand 6x12 750w R119 FOH 2 10 Apron white 10 19 Strand 6x12 750w R119 FOH 2 13 Apron white 11 74 Source 4 50deg 575W R119 FOH 1 1 PA White 12 69 Source 4 50deg 575W R119 FOH 1 3 PA White 13 66 Source 4 50deg 575W R119 FOH 1 6 PA White 14 62 Source 4 50deg 575W R119 FOH 1 9 PA White 15 59 Source 4 50deg 575W R119 FOH 1 11 PA White 16 107 6" Fresnelite 1Kw OW DS Bridge 8 DSL GW 17 96 8" Fresnelite 1Kw OW DS Bridge 14 DSL GW 18 128 8" Fresnelite 1Kw OW LX1 10 CSR GW 19 122 8" Fresnelite 1Kw OW LX1 13 CSR GW 20 161 8" Fresnelite 1Kw OW LX2 5 CSR GW 21 169 8" Fresnelite 1Kw OW LX2 7 CSR GW 22 168 8" Fresnelite 1Kw OW LX2 10 CSR GW 23 154 6" Fresnelite 1Kw OW LX3 1 USR GW 24 155 8" Fresnelite 1Kw OW LX3 3 USR GW 25 146 8" Fresnelite 1Kw OW LX3 5 USR GW 26 147 8" Fresnelite 1Kw OW LX3 8 USR GW 28 120 Source 4 50deg 575W OW DS Bridge 2 DSL GW 29 114 Source 4 50deg 575W OW DS Bridge 5 DSL GW 31 71 Source 4 36deg 575W R132 FOH 1 2 House Front 32 68 Source 4 36deg 575W R132 FOH 1 5 House Front 33 64 Source 4 36deg 575W R132 FOH 1 7 House Front 34 141 6" Fresnelite 1Kw OW LX1 3 House GW 35 140 6" Fresnelite 1Kw OW LX1 6 House GW 36 172 6" Fresnelite 1Kw OW LX2 3 House GW 37 104 Source 4 36deg 575W R132 DS Bridge 9 Door area 41 27 Strand 6x12 750w R09/132 FOH 2 5 Apron warm 42 25 Strand 6x12 750w R09/132 FOH 2 9 Apron warm 43 23 Strand 6x12 750w R09/132 FOH 2 12 Apron warm 44 18 Strand 6x12 750w R09/132 FOH 2 15 Apron warm 45 67 Source 4 50deg 575W R09/132 FOH 1 4 PA Warm 46 65 Source 4 50deg 575W R09/132 FOH 1 8 PA Warm

36 Ch. Dim Inst Type Wattage Color Position Unit # Purpose 47 61 Source 4 50deg 575W R09/132 FOH 1 10 PA Warm 48 55 Source 4 50deg 575W R09/132 FOH 1 12 PA Warm 49 102 8" Fresnelite 1Kw R09 DS Bridge 10 SR Warm 50 95 8" Fresnelite 1Kw R09 DS Bridge 15 SR Warm 51 124 8" Fresnelite 1Kw R09 LX1 14 SR Warm 52 160 8" Fresnelite 1Kw R09 LX2 8 SR Warm 53 170 8" Fresnelite 1Kw R09 LX2 11 SR Warm 54 165 8" Fresnelite 1Kw R09 LX3 6 SR Warm 55 153 8" Fresnelite 1Kw R09 LX3 9 SR Warm 61 112 6" Fresnelite 1Kw R02 US Bridge 7 House Warm 62 136 6" Fresnelite 1Kw R02 LX1 7 House Warm 63 135 6" Fresnelite 1Kw R02 LX1 4 House Warm 64 166 6" Fresnelite 1Kw R02 LX2 4 House Warm 71 115 Source 4 36deg 575W L202 DS Bridge 4 House Cool 72 117 Source 4 36deg 575W L202 US Bridge 4 House Cool 73 139 Source 4 36deg 575W L202 LX1 1 House Cool 74 134 6" Fresnelite 1Kw L202 LX1 5 House Cool 75 163 6" Fresnelite 1Kw L202 LX2 2 House Cool 81 75 PAR 64 1Kw R83 SR Door Boom 3 High side Blue 82 93 PAR 64 1Kw R83 DS Bridge 16 High side Blue 83 111 PAR 64 1Kw R83 DS Bridge 6 House Warm Back 84 125 PAR 64 1Kw R83 LX1 15 High side Blue 85 162 PAR 64 1Kw R83 LX2 12 High side Blue 86 164 PAR 64 1Kw R83 LX3 10 High side Blue 87 82 PAR 64 1Kw R357 SL Door Boom 2 House Warm Back 88 108 PAR 64 1Kw R357 US Bridge 8 Lavender wash 89 126 PAR 64 1Kw R357 LX1 8 Lavender wash 90 173 PAR 64 1Kw R357 LX2 6 Lavender wash 91 156 PAR 64 1Kw R357 LX3 2 Lavender wash 96 149 PAR 64 1Kw R57 LX4 1 House Warm Back 97 157 PAR 64 1Kw R57 LX3 4 House Warm Back 100 28 Source 4 19deg 575W R132/3208 FOH 2 7 Follow spot 101 54 Source 4 26deg 750W R132 SL FOH 1 Boom 1 H Grain side 102 85 Source 4 26deg 750W R132 SL Door Boom 1 I Grain side 103 89 Alt 360Q 6x9 750W R132 SL Arch 1 J Grain side 104 50 Source 4 26deg 750W R132 SR FOH 1 Boom 1 A Grain side 105 78 Source 4 26deg 750W R132 SR Door Boom 1 B Grain side 106 86 Alt 360Q 6x9 750W R132 SR Arch 1 C Grain side 107 87 Alt 360Q 6x9 750W R132 SR Boom-1 1 D Grain side 108 130 Alt 360Q 6x9 750W R132 SR Boom-2 3 E Grain side 109 193 Alt 360Q 6x9 750W R132 SR Boom-3 4 FG Grain side 110 194 3" Fresnel 100W OW Ground 2 Backdrop shadow 194 3" Fresnel 100W OW Ground 1 Backdrop shadow 111 51 Source 4 26deg 575W R23 SL FOH 1 Boom 2 H Grain shadow

37 Ch. Dim Inst Type Wattage Color Position Unit # Purpose 112 106 Source 4 26deg 575W R23 US Bridge 1 I Grain shadow 113 90 Source 4 26deg 575W R23 SL Boom-1 1 J Grain shadow 114 47 Source 4 26deg 575W R23 SR FOH 1 Boom 2 Grain shadow 115 97 Source 4 26deg 575W R23 DS Bridge 12 B Grain shadow 116 92 Source 4 26deg 575W R23 US Bridge 2 C Grain shadow 117 131 Source 4 26deg 575W R23 SR Gallery 1 D Grain shadow 118 132 Source 4 26deg 575W R23 SR Gallery 3 E Grain shadow 119 133 Source 4 26deg 575W R23 SR Gallery 4 FG Grain shadow 121 144 Source 4 PARNel 575W R362 SL Gallery 2 House Tablo 122 142 Source 4 PARNel 575W R362 SL Gallery 3 House Tablo 123 145 Source 4 PARNel 575W R362 SL Gallery 4 House Tablo 124 143 Source 4 PARNel 575W R362 SL Gallery 1 House Tablo 125 171 Source 4 PARNel 575W R362 LX2 1 House Tablo 131 76 S4 PAR NSP 575W R20 SR Door Boom 2 Tablo top 132 123 S4 PAR NSP 575W R20 LX1 12 Tablo top 133 127 S4 PAR NSP 575W R20 LX1 9 Tablo top 134 167 S4 PAR NSP 575W R20 LX2 9 Tablo top 135 152 S4 PAR NSP 575W R20 LX3 7 Tablo top 136 118 S4 PAR NSP 575W R20 DS Bridge 3 Tablo top 137 103 Source 4 26deg 575W R20 US Bridge 9 Tablo top 138 113 Beam projector 500w R357 US Bridge 6 Michael top 141 94 Beam projector 500w R22 US Bridge 10 Jack top 142 105 Beam projector 500w R22 US Bridge 11 Jack top 143 100 Source 4 26deg 575W R41 DS Bridge 11 Uganda Shape 144 99 Source 4 26deg 575W R41 DS Bridge 12 Uganda Shape 145 98 Source 4 26deg 575W R41 DS Bridge 13 Uganda Shape 152 121 Source 4 26deg 575W OW US Bridge 2 Tree 153 119 Source 4 26deg 575W OW US Bridge 3 Tree 156 110 Source 4 50deg 575W OW DS Bridge 7 Roof touch 157 116 Source 4 50deg 575W OW US Bridge 5 Roof touch 158 138 Source 4 50deg 575W OW LX1 2 Roof touch 161 129 Source 4 36deg 575W OW LX1 11 Window 162 150 Source 4 50deg 575W OW LX4 2 Backdrop cloud 163 148 Source 4 36deg 575W L200 LX4 8 Backdrop touch 201 301 Selador 216 LX4 3 Backdrop colour 202 321 Selador 216 LX4 4 Backdrop colour 203 341 Selador 216 LX4 5 Backdrop colour 204 361 Selador 216 LX4 6 Backdrop colour 205 381 Selador 216 LX4 7 Backdrop colour

38 Appendix H: Color Schedule

Color # Position Unit Number Inst Type Gel Size L200 LX4 8 Source 4 36deg 6.25" L202 DS Bridge 4 Source 4 36deg 6.25" LX1 5 6" Fresnelite 7.5" LX1 1 Source 4 36deg 6.25" LX2 2 6" Fresnelite 7.5" US Bridge 4 Source 4 36deg 6.25" R02 LX1 4 6" Fresnelite 7.5" LX1 7 6" Fresnelite 7.5" LX2 4 6" Fresnelite 7.5" US Bridge 7 6" Fresnelite 7.5" R09 DS Bridge 10 8" Fresnelite 10 1/8" DS Bridge 15 8" Fresnelite 10 1/8" LX1 14 8" Fresnelite 10 1/8" LX2 8 8" Fresnelite 10 1/8" LX2 11 8" Fresnelite 10 1/8" LX3 6 8" Fresnelite 10 1/8" LX3 9 8" Fresnelite 10 1/8" R09/132 FOH 1 10 Source 4 50deg 6.25" FOH 1 4 Source 4 50deg 6.25" FOH 1 12 Source 4 50deg 6.25" FOH 1 8 Source 4 50deg 6.25" FOH 2 12 Strand 6x12 FOH 2 5 Strand 6x12 FOH 2 15 Strand 6x12 FOH 2 9 Strand 6x12 R119 FOH 1 1 Source 4 50deg 6.25" FOH 1 3 Source 4 50deg 6.25" FOH 1 9 Source 4 50deg 6.25" FOH 1 6 Source 4 50deg 6.25" FOH 1 11 Source 4 50deg 6.25" FOH 2 11 Alt 360Q 6x12 7.5" FOH 2 10 Strand 6x12 FOH 2 2 Alt 360Q 6x12 7.5" FOH 2 1 Strand 6x12 FOH 2 4 Alt 360Q 6x12 7.5" FOH 2 14 Alt 360Q 6x12 7.5" FOH 2 8 Alt 360Q 6x12 7.5" FOH 2 13 Strand 6x12 FOH 2 3 Strand 6x12 FOH 2 6 Strand 6x12 R132 DS Bridge 9 Source 4 36deg 6.25"

39 Color # Position Unit Number Inst Type Gel Size FOH 1 2 Source 4 36deg 6.25" FOH 1 5 Source 4 36deg 6.25" FOH 1 7 Source 4 36deg 6.25" SL Arch 1 Alt 360Q 6x9 7.5" SL Door Boom 1 Source 4 26deg 7.5" SL FOH 1 Boom 1 Source 4 26deg 7.5" SR Arch 1 Alt 360Q 6x9 7.5" SR Boom-1 1 Alt 360Q 6x9 7.5" SR Boom-2 3 Alt 360Q 6x9 7.5" SR Boom-3 4 Alt 360Q 6x9 7.5" SR Door Boom 1 Source 4 26deg 7.5" SR FOH 1 Boom 1 Source 4 26deg 7.5" R132/3208 FOH 2 7 Source 4 19deg 6.25" R20 DS Bridge 3 S4 PAR NSP 7.5" LX1 9 S4 PAR NSP 7.5" LX1 12 S4 PAR NSP 7.5" LX2 9 S4 PAR NSP 7.5" LX3 7 S4 PAR NSP 7.5" SR Door Boom 2 S4 PAR NSP 7.5" US Bridge 9 Source 4 26deg 6.25" R22 US Bridge 11 Beam projector US Bridge 10 Beam projector R23 DS Bridge 12 Source 4 26deg 6.25" SL Boom-1 1 Source 4 26deg 6.25" SL FOH 1 Boom 2 Source 4 26deg 6.25" SR FOH 1 Boom 2 Source 4 26deg 6.25" SR Gallery 3 Source 4 26deg 6.25" SR Gallery 4 Source 4 26deg 6.25" SR Gallery 1 Source 4 26deg 6.25" US Bridge 2 Source 4 26deg 6.25" US Bridge 1 Source 4 26deg 6.25" R357 LX1 8 PAR 64 LX2 6 PAR 64 LX3 2 PAR 64 SL Door Boom 2 PAR 64 US Bridge 6 Beam projector US Bridge 8 PAR 64 R362 LX2 1 Source 4 PARNel 7.5" SL Gallery 2 Source 4 PARNel 7.5" SL Gallery 1 Source 4 PARNel 7.5" SL Gallery 4 Source 4 PARNel 7.5" SL Gallery 3 Source 4 PARNel 7.5" R41 DS Bridge 11 Source 4 26deg 6.25" DS Bridge 12 Source 4 26deg 6.25"

40 Color # Position Unit Number Inst Type Gel Size DS Bridge 13 Source 4 26deg 6.25" R57 LX3 4 PAR 64 LX4 1 PAR 64 R83 DS Bridge 6 PAR 64 DS Bridge 16 PAR 64 LX1 15 PAR 64 LX2 12 PAR 64 LX3 10 PAR 64 SR Door Boom 3 PAR 64

41 42 Appendix I: Magic Sheet Appendix J: Cue Sheet-Final Version

Dancing at Lughnasa - Cue list WON-KYOON HAN Cue Page Line U D F Line/Ac0on Descrip0on 1 - - 5 SM Q House + Preset

2 - - 6 SM Q House to Half

3 - - 5 3 SM Q House out Preset out 4 - - 3 F

11 1 - 10 8 With Music 1st Michael Monologue Follow spot

11.1 - - 10 6 F

12.1 - - 30 25 F

12.3 - - 8 5 F

12.5 - - 6 F

13 2 4 6 Michael-”And when~” Michael area down

14 2 28 6 1 Michael-”~to observe him” Change to Act.1 - Inside Inside

14.5 - - 7 2 F

14.7 - - 8 6 F

15 - - 6 F

16 6 28 25 Maggie-”~word of love?” Outside up Both

17 7 2 25 Agnes-”~finished this week” Inside down Outside

18 8 17 3 2.5 Maggie-”~tchook-tchooke” 2nd Michael Monologue Follow spot

18.3 - - 5 4 F

19 - - 7 F

20 9 6 2.5 2.5 Michael-”~out of wedlock” Q. 17 Outside

43 Dancing at Lughnasa - Cue list WON-KYOON HAN Cue Page Line U D F Line/Ac0on Descrip0on

22 9 36 30 Kate enters House Q. 16 Both

24 10 8 35 Michael exits Q. 14 Inside

26 14 1 12 8 Kate-”~mentioned again” Q. 17 Outside

27 - - 15 F

28 15 5 15 Kate-”~...jelly...” Q. 14 Inside

29 - - 15 F

30 20 3 40 30 Maggie-”it was this time” Inside up Inside

31 - - 30 F

32 21 19 1’20 1’40 1’40 Maggie-”Yaaah” Warmer Inside, Outside Dance

33 - - 33 F

34 22 17 3 3 2 Music stop Q. 14 Inside

35 - - 3 F

36 23 38 30 Agnes-”~please Kate” Q. 16 Both

38 26 8 16 Maggie-”In the garden” Q. 17 (Window up) Outside

40 34 3 12 25 Chris and Gerry exits Q. 14 Inside

41 - - 30 F

42 36 13 25 25 Maggie-”...Kate, love...” Q. 17 Outside

43 - - 25 F

44 37 6 12 18 Chris enters House Q. 14 Inside

45 - - 10 F

46 41 18 7 4 Kate-”~cardigan” 3rd. Michael Monologue Follow spot

44 Dancing at Lughnasa - Cue list WON-KYOON HAN Cue Page Line U D F Line/Ac0on 3rd. Michael MonologueDescrip0on

46.1 - - 7 5 F

46.2 - - 6 8 4 F

46.3 - - 7 5 F

46.5 - - 6 F

48 41 36 20 15 10 Jack picks up sticks Top on Jack Jack dance

49 - - 12 F

50 42 30 8 6 Kate-”~into a depression” Q. 16 Both

51 - - 8 F

52 42 39 5 2 Kate-”~for our walk” Black out

52.3 - - 5 2 F

52.5 - - 2 F 5 53 - - 4 F

54 - - 5 3 SM Q Intermission in House in 54.5 - - 5 F

99 - - 5 SM Q House to Half

100 - - 5 3 SM Q House out Intermission 100.5 - - 3 F

101 43 - 6 3 SM Q Act.2 - Inside Inside

101.3 - - 6 4 F

102 - - 6 4 F

102.5 - - 5 F

45 Dancing at Lughnasa - Cue list WON-KYOON HAN Cue Page Line U D F Line/Ac0on Descrip0on

103 48 39 20 Jack-”~Maggie?” Outside up Both

105 50 1 18 Chris and Gerry enters Inside down Outside

106 51 18 20 Gerry-”and saw the box.” Q. 103 Both

107 54 4 30 Agnes enters House Q. 101 Inside

109 56 14 20 Maggie-”~to find her” USR USR up

111 57 12 30 Rose enters House Q. 101 Inside

113 59 25 6 4 Kate-”~ever again?” 4th. Michael Monologue Follow spot

113.1 - - 8 6 F

114 - - 8 F

115 61 31 7 4 Michael-”~to myself” Q. 103 Both

115.5 - - 12 F

117 64 28 23 Gerry enters Outside Q. 105 Outside

119 65 16 8 20 Gerry enters House Q. 101 Inside

120 - - 8 F

121 67 2 18 10 Chris-”~that’s all I did” Q. 103 Both

121.5 - - 8 F

122 69 31 45 Kate-”~heat in the sun” Dee Amber Evening

123 70 21 16 13 Maggie-”~I’ve forgotten” 5th. Michael Monologue Follow spot

123.3 - - 8 6 F

123.5 - - 5 3 F

124 - - 9 F

46 Dancing at Lughnasa - Cue list WON-KYOON HAN Cue Page Line U D F Line/Ac0on Descrip0on

125 71 39 4 3 With Music Black out

125.5 - - 4 2 F

125.7 - - 3 2 F

125.9 - - 3 1 F

126 - - 2 F

130 - - 5 SM Q Curtain Call

131 - - 5 3 SM Q House Preset 131.5 - - 5 F

47 Appendix K: Production Photos

Act One - The First Monologue (Opening)

Act One - The Cottage

48 Act One - Main Look Outside

Act One - The Second Monologue

49 Act One - Sisters Dance

Act One - The Third Monologue (End of Act One)

50 Act Two - The Cottage From Stage Left

Act Two - The Fourth Monologue

51 Act Two - Main Look Outside

Act Two - The Fifth Monologue (Ending)

52 Chris and Gerry - Dancing (Left)

Michael - The Second Monologue (Right)

53 Jack and Kate - End of Act One (Left)

Gerry and Jack - End of Act Two (Right)

54