The Lighting Designer and the Master Electrician by MIKE LAWLER
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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.