The

illuminators The lighting designer and the master electrician BY MIKE LAWLER

HE ACTORS MIGHT wear their own Tclothes and put on a show in an ex- isting space with no modification. They might shout at the top of their SCOTT SUCHMAN lungs without reinforcement or music to set the mood. But before they be- gin someone must turn on the lights. In such a pared down production, the person manning the light switch on the wall would be considered the light board operator; the person who screwed the light bulb in is the mas- ter electrician; and the one who told him where to put the lamp is the de- signer. Those are the basic elements of any lighting team working in the- atre. (Of course, with such a low- budget production, the same person is probably doing triple duty.) In the world of professional theatre, there are many talented and skilled men and women turning this oversimpli- fied production into a feast of illumi- nated art. If you are putting on any kind of performance—dance, play, opera, concert—there is one thing you simply cannot do without: illu- mination. DRAMATICS • JANUARY 2006 SCOTT SUCHMAN

At left, lighting designer John Ambrosone ing designer and associate professor of Champa makes sure to keep in confers with Arena Stage lighting fellow theatre and design at Southern Method- mind, however, that his primary re- Xavier Pierce during a tech rehearsal for ist University. Woods works extensively sponsibility as a designer is finding a the theatre’s production of Damn Yankees. with many types of performing arts or- way to help tell the story. He explains Above, the 2003 Arena production of ganizations, including the renowned his role this way: “To help the audience Camelot, with lighting by Ambrosone. Jose Limon Dance Company, an en- focus on what we want them to focus Illumination is only the beginning semble he’s collaborated with for sev- on. To not get in the way of the actors of theatrical lighting. “Lighting is the enteen years. “My responsibility is to and their work. To make the space and ‘visual glue’ that holds up and en- the director’s vision, the playwright, the world visually exciting and make hances all the other visual elements,” and my artistry,” he says. everyone else look good until you want explains lighting designer John Just as a sound designer must be or need them to look bad.” Ambrosone. As a freelancer and former part engineer and part composer, the Coordinating with the other design- resident lighting designer (often artistry of manipulating light is one that ers and the director is the essential be- known as the LD) for American Reper- walks the line between keeping up ginning for any designer, and LDs are tory Theatre (ART) in Boston for thir- with cutting edge technology and re- no different. “The first thing is to under- teen years, Ambrosone has been creat- taining the ability to think like a stand why the particular work is being ing stunning and complicated light painter. It’s a line that must be walked done,” says Woods. “Being a designer designs for theatre, dance, opera, and carefully while concentrating on sup- is a lot like being a detective. You con- other forms for almost twenty years. porting the vision of the production nect the dots to find the answer to the “Light is as accessible and expressive (see the sidebar “Lighting the sky”). question posed by the work.” In order as an actor, but never should upstage Russell Champa, a freelance designer to connect the dots, the lighting de- or pull focus from the unified contribu- based in both San Francisco and New signer will meet with the director or tions of the whole,” he says. York City, does his best to experiment choreographer, the other designers, and as an artist at every opportunity. “I sometimes even the playwright or Shaping a visual environment think that part of the job is to challenge composer to hammer out a visual un- “My role is to shape a visual environ- oneself on every project to try some- derstanding of the production. ment for the play to take place in,” ex- thing new—a new color, a new type of “I always start with the script and plains Steve Woods, a freelance light- fixture, new technology, or a whole then a big piece of paper and a pen- new process,” he explains. JANUARY 2006 • DRAMATICS cil,” says Champa. This is often a tough about until you’re actually in the theatre Rather than wait until the system is in period for a lighting designer struggling and turn off the work lights and turn on the theatre and hung, Woods believes to transform the production concept into some of your lights. This is when the that designers must make an active ef- a functional light plot. “Translating a real work begins.” fort to conceive a system of lighting bunch of great ideas into a practical so- Over time, Woods has grown to see that limits what he calls “the unpleasant lution can be very difficult, especially the art of light design a bit differently. surprises.” As a result, his design ap- with lighting,” he admits. “Oftentimes “Of course, the move from paper to re- proach has evolved to more fully ac- nobody knows what you’re talking ality always brings surprises,” he says. count for the realities of each instru-

Two job descriptions A LIGHTING DESIGNER’S primary re- amount of time researching and study- and channel hookup, the ME com- sponsibility is to ensure that a ing the script or piece for which they piles all of the necessary equipment show’s lighting fulfills the director’s are designing. and makes a plan for how to orga- production concept. Once the crew has hung, circuited, nize the work that will need to be A good LD will strive to maintain and patched the show, the LD will be- done. (Many MEs will create informa- cohesion with other design aspects gin working in the theatre, utilizing the tive flash cards known as hang cards, of a production, including sound, crew during the focus and troubleshoot- so that electricians will have the in- choreography, and perhaps most im- ing phase of the process. After the plot formation they need to complete portantly, scenery and costumes. He has been focused and all equipment is their assigned tasks without having to or she begins this process during the patched and operating correctly, the LD return periodically to the usually cen- design stage by drafting a light plot will write cues for the show. Some LDs trally located light plot.) The ME is and creating an instrument schedule. arrive with cues already written, which also responsible for deciding how Another important tool provided to they will then modify as necessary dur- much time and labor will be needed the ME is the channel hookup (also ing the tech process. for a given project in order to ensure known as a magic sheet). A channel that the work is done on schedule. hookup is a simple rundown of ev- • • • Generally, the LD will arrive for ery channel the LD plans to use. It focus and preliminary notes once the will detail every aspect of that chan- THE MASTER ELECTRICIAN is a theatre’s electrics crew has fully hung, patched, nel, including its purpose, area of charge electrician. The ME is respon- programmed any equipment requiring focus, physical location, gel color or sible for maintaining and operating the it, and checked the entire system for template need, and what type of in- theatre’s lighting equipment, managing problems. During focus, the ME will strument is to be used. the lighting budget, and hiring the nec- head up the crew, assisting the de- All of the paperwork allows the essary crews to complete the tasks of signer by making sure the proper master electrician and the lighting hanging, focusing, running, and strik- lights are on at any given time. crew lead time to assemble and pre- ing individual productions. Between Once the show has been focused, pare the lighting system before the productions, the ME will ensure that the ME will assist the LD in program- lighting designer is actually working the electrics department and its equip- ming cues. If the ME is not also to be on-site in the theatre. This will help ment is organized and in proper work- the light board operator, he or she the ME plan in advance for any nec- ing condition, guaranteeing that spare will at least be on hand throughout essary renting or purchasing of parts and replacement lamps are in the tech process in order to fix unex- equipment. “A good number of my stock. The ME must also be sure that pected issues and change things that shows go into empty theatres,” says all of the proper gel (or color) is avail- the LD has decided to adjust in order Steve Woods, “which require you to able, and any other materials specified to accommodate the design more rent or buy everything you need.” by the designer, such as pattern tem- fully, such as the focus of an instru- The lighting designer will also plates (also known as gobos), irises, ment. make decisions regarding the colors and sidearms. If necessary, the ME will Obviously, the work of an ME is to be used, and what type of instru- oversee any rigging that may need to never done. “You work late, you mentation to employ during the de- be accomplished in order to success- work often, and during the holidays,” sign phase. This is generally dictated fully carry out the design. says Joe Hartnett. “My only day off is to some degree by the budget and During the planning stages and tech Monday—so, going out with your lighting inventory of the theatre they process, the ME is the LD’s right hand, wife, partner, or buddies on the are designing for. Like their counter- responsible for putting the paperwork weekends can get tough. But it can parts in the areas of sound, scenery, of the designer into action. Supplied be done.” and costuming, LDs will spend a fair with a light plot, instrument schedule, —M. L.

DRAMATICS • JANUARY 2006 ment he puts on a plot. By perfecting his initial plot and design tactics, Woods has been able to make his time spent in tech rehearsals much more flexible. “I was no longer seeing the show in bits and pieces,” he comments. “My research became better as did my understanding of the script and the arch of the play.” Woods now tries to storyboard productions with the direc- tor as well. “We need to be open to approaching our work not in a tried and true way but in a way that chal- lenges.”

The electricians Much the same way that a scene shop’s carpenters and technical director are responsible for building a set to the specifications set forth by a scenic de- signer, an electrics crew is responsible for preparing the lighting for each pro- ists. They happen to be some of the Above, the American Conservatory duction, as planned by the lighting de- most gifted artists I know.” Theatre’s 2003 production of Waiting for signer. The crew, which may range in Ambrosone makes a point of con- Godot, with lighting by Russell Champa. size from two to twenty, is generally tacting the lead electrician as early in Below, Natalie George, production electri- led by a master electrician (other titles the process as possible, so that they cian for the State Theatre Company in Austin, Texas. include production or chief electrician, are up to speed on the production and lighting supervisor, or, for short, the thoroughly understand the design con- ME), who acts as the crew supervisor cept. “Oftentimes they are better at and is the contact point for the de- problem solving and have more suc- signer. “We always joke that we are the cessful budgeting solutions than I do,” people that make the magic happen,” he explains. says Joe Hartnett, the master electrician “They do the heavy lifting,” says for Pittsburgh Public Theatre. “As an Champa, detailing the tasks of the ME. ME, I enable the lighting design to “They figure out the circuiting and come to life.” dimming, place the shop orders, sched- For Hartnett and his counterparts ule the crews and often figure out how around the country, bringing a design to achieve whatever crazy idea the de- to life entails the proper reading and signers come up with.” interpretation of the designer’s light Master electricians are forever ad- plot, ensuring that the entire lighting justing to a constantly changing range system is operational and set up as the of lighting designers. It can be a bit LD has designed it, and keeping the like having a new boss every month or labor and equipment costs in line with two, and because the working relation- the budget. “The biggest challenge is ship between an LD and an ME is very being on top of your game and getting close and frequently strained under in- the job done,” says Hartnett. tense deadline and artistic pressure, the Most designers understand that the ME must learn how to get the work collaboration between the designer done regardless of how well he or she and the technicians who hang, patch, gets along with a designer. focus, and run the production is of ut- There are two types of designers, ac- most importance. “There is no ‘going cording to Natalie George, the produc- it alone’ in theatre,” notes Ambrosone. tion electrician for the State Theater “A lot of what designers accomplish is Company in Austin, Texas. “There are due to technicians. It’s a common mis- the designers who ask about the bud- conception that they too are not art- get, and those that don’t,” she says. JANUARY 2006 • DRAMATICS Lighting the sky AMERICAN PLAYERS THEATRE is an

outdoor theatre in rural Spring MICHAEL PETERSON Green, Wisconsin, that focuses on performing classic plays in rotating rep. They usually mount five pro- ductions per season—and they use one light plot to serve each show. If you can imagine the difficulty in lighting one show in an outdoor space, where the appearance of each show shifts as the sun sets, imagine creating five unique light designs with the same set of lights. Michael Peterson, the general manager of Willamette Repertory Theatre in Eugene, Oregon and a freelance lighting designer, spends a The outdoor production of The Merry Wives of Windsor at the Amercian Players great deal of his summers as the Theatre in Spring Green, Wisconsin, with lighting by Michael Peterson. resident lighting designer for APT trying to do just that. At APT, the use of specials takes on a after each tech to review the cues Fortunately, Peterson had plenty new meaning. “The back wall of the that happen during the ‘dusk’ part of of experience working both in out- theatre is actually open to the woods,” the show,” Peterson says. He must door venues and in rotating rep situ- Peterson points out. “So there are two do this in order to ensure that as the ations. As the resident LD for PCPA additional washes that light the trees to season begins to change and it be- Theatrefest in Santa Maria, California create different looks for the back- comes dark earlier, the show retains for fifteen years, he gained invalu- grounds.” its intended look. With his years of able insight that has helped him in Another consideration is how to use experience, lighting the shows for his five seasons working with APT. color. For Peterson, this means in- APT has become a bit less daunting “My first task at APT was to get structing his ME to change the color for Peterson. the most from my rep plot design between each performance. “The color “My job is made somewhat easier that I possibly could, while still leav- in the rep plot is actually changed over by the fact that I have designed a ing me enough flexibility with spe- in all of the washes expect the back- very flexible rep plot that gets cials to light all five shows,” he says. light and two front PAR washes for supplemented by specials for each Specials are the lighting positions each production. show,” he says. “But it is still a chal- that LDs rely on to meet the unique “Since the shows actually begin be- lenge to make sure that each show needs of individual shows that may fore the sun has set during the first has its own signature look and feel.” not be covered by general lighting. part of the summer, I actually stay late —M. L.

“You really have to learn how to handle Woods agrees that the master electri- “Many—not all—men in the business the designers who don’t, because they cian and the electrics crew are a critical are not used to taking direction from a will push you and push you as far as element for realizing a great design. He young woman.” But, Palma has found they can to get everything they can— also believes that a crew with a vested ways to deal with such problems. “I’ve even things that they may never use.” interest in the design will naturally be learned that it’s always better to be “If you do your job,” Hartnett says, more inclined to do their best work. “I sweet than demanding—you get your “you will have very few problems— want them to take ownership of the own way with sugar much more easily besides a conflict of personalities.” work and contribute,” he says. How- than with spice.” When differences in personality crop ever, for Kim Palma, a freelance de- up between a designer and ME, he em- signer based in California, the notion of A road to the lighting life phasizes, the work must still get done working with electrics crews sometimes Many MEs are either aspiring or work- properly. “There is nothing you can do takes on a slightly different spin. “Being ing lighting designers themselves. but have your job done to the best of a woman in the profession, it’s been a George uses her steady gig as a staff your abilities.” different kind of challenge,” she says. electrician to keep her design work fi- DRAMATICS • JANUARY 2006 nancially feasible. Her position as both tor and playwright, and how to man- overcome the inherent disadvantages of the master electrician of a mid-size re- age their career and life in the theatre bypassing college in a business that re- gional theatre and as a freelance de- as a business person and artist.” lies heavily on creating and maintaining signer give her a unique perspective Woods believes that learning how to professional relationships. “The biggest on the industry, as well as the oppor- make it as a freelancer is perhaps the challenge for me is marketing myself tunity to network with designers from most critical skill. “For someone just and my work,” he says. In college and around the country. starting in the business, the challenge graduate school, students of theatrical Champa, who also spent many is making enough money to survive design are able to connect with many years working as an electrician before each month. Graduate school gives working and aspiring theatre profes- being able to make the financial leap [designers] a chance to fail without di- sionals, a clear advantage when at- to full time design work, acknowl- saster,” he says, explaining why gradu- tempting to enter the workforce pool. edges that meeting and working with ate study may be a good idea for The bottom line: there is no single established designers is crucial for be- many young designers. “They can’t do path to achieving success as a lighting coming one yourself. He finds the per- that at a commercial theatre and ex- designer or master electrician. One way sistent need to network a struggle, pect to move forward.” or another, you have to get the training however, and said that the ongoing “Intern, intern, intern!” says Palma. and experience, and learn the intan- need to develop new potential work- “There are millions of opportunities gibles to master the technology and the ing relationships is difficult. “The big- available,” she says. “Look for an artist artistry. And, as Ambrosone noted, the gest challenge though,” Champa ad- whose work you admire and volunteer learning never stops, even for someone mits, “was transitioning from the services while you can afford to do it!” with twenty years of lighting experi- electrics and assisting work to be able Finding opportunities to get your hands ence. Whether you’re planning to serve to make a living and survive as a de- dirty and work as an electrician in the as an apprentice in a community or signer.” theatre—even if you’d rather be a de- professional theatre, hang lights in your Gaining experience and training in signer—comes highly recommended college program, or just begin the long theatrical lighting shouldn’t be hard to from designers and electricians alike. road of freelancing, be prepared to come by for anybody truly interested “I find that students coming out of work hard. But remember, without illu- in the craft. However, Woods believes grad design programs may be great on mination, no one could see the show, that prospective undergraduate college paper, but they often don’t understand no matter how wonderful the acting, students need to be careful about the basics of an electrician’s work,” sets, and sound are. Bear that in mind choosing where to study if they are se- says George. She encourages students and all the work might seem a bit less rious about pursuing a career in light- to take time to learn the basics before daunting. Good luck. ing design (see the sidebar on page attempting to step into the big leagues 28). “I have to say that a lot of pro- of design. Mike Lawler writes frequently about grams use their students as a cheap On-the-job training is also a major backstage specialties for this magazine. labor force, pretending that these same part of learning the craft of lighting. “I A ten-year veteran of professional tech- kids are being trained by this exploita- am proud of the fact that I’m still see- nical theatre work, he lives in Austin, tion while the faculty designers design ing and learning new things about Texas. the shows,” he says, advising young what I do,” says Ambrosone. “Never theatre students to be more particular think for one second that learning about where they decide to attend uni- stops at the end of school, college, or versity and pursue their theatre futures. your first Broadway show.” “The most important thing,” says For Champa, it has always been Woods, “is to attend a great school about learning by doing. “Not having a where your education will permit you degree, or any grad school experience to be employable upon graduation.” has meant that I came into design Ambrosone has similar advice, em- through the back door,” he comments. phasizing the need for going to a school “I spent a long time assisting and do- where you will get plenty of one-on- ing electrics work to supplement and one attention from your professors. finance my design career.” Champa is At Southern Methodist University, now a successful theatrical designer Woods focuses on teaching graduate who works regularly around the coun- students the skills they need to suc- try—including at American Conserva- ceed in the professional design world. tory Theatre in San Francisco, Trinity “I think designers need to learn how Rep in Providence, Rhode Island, and to read a play with understanding, various theatres in New York City. how to discuss the play with the direc- He’s a good example of how one can JANUARY 2006 • DRAMATICS Originally published in Dramatics magazine. 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