A Practical Guide to Stage Lighting, 2nd Edition

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A PRACTICAL GUIDE TO STAGE LIGHTING

While it may seem obvious the show should have

several run-throughs before moving to the stage, that’s

rarely an option. Oftentimes the rehearsal schedule is

just too tight to allow more than one run-through to

take place. When that’s the case, everyone connected

with the show can only shrug, and work with what

they’ve got. When more than one run-through takes

place before the move, many lighting designers per-

ceive that as a gift.

On those good days, viewing multiple run-throughs

translates into several chances for the lighting designer to

see the show, update the cue master, and refine the plot’s

focus before the focus or cue setting sessions take place.

On bad days, the single run-through may not take place

until the middle of the focus call. When that’s the case,

sadly, unless there’s an assistant that can focus the show,

or someone to videotape the run-through, the ability to

pre-cue the show is going to suffer. In non-union situa-

tions, lighting designers often ask that the run-through

be videotaped, so that it can be slowly analyzed, broken

down, and played through numerous times. In union

situations, Actor’s Equity doesn’t normally allow run-

throughs to be taped without special or extenuating

circumstances. Those are the times that having a really

smart stage manager, who knows the rules for many dif-

ferent unions, can come in very handy. In times of des-

peration, however, one personal tactic that’s proved

successful is to take the stage manager out to dinner and

have her act out the entire show at Chi-Chi’s using salt-

shakers and chips as substitutions for the performers,

based on the promise of free margaritas and a taco.*

In any event, whenever the opportunity to watch a

run-though is offered, the savvy lighting designer will

take advantage of the invitation. Although the show is

still coming together, and no doubt things will change

once the cast gets on the stage, every chance to see the

show provides the lighting designer with several oppor-

tunities. With each viewing, the lighting designer can

improve and define the cue master, clarify the follow-

spot choreography, discuss any number of thoughts or

ideaswiththedirector(orothermembersofthecreative

team),orjustbecomemorefamiliarwiththeshow.

Prior to Attending the Run-Through

•Checkthedaybeforetomakesurethe

run-through are still going to take place.

•Makesureyouknowwheretherehearsalstudio

is located and how to get in.

•Makesurethecuemasterisuptodate.

•Makesureyourcopyofthepieceisuptodate.

If there are re-writes, arrange to have them

prior to, or immediately upon your arrival. It’s

always embarrassing to be following your script

and then the performers start saying things that

don’t match your script, leaving your cues in a

puddle on the floor.

•Makesureanygroundplansincludedinthe

script/score/movement chart is up-to-date.

•Makesureallrelevantbatteriesarecharged;

phone, laptop, etc.

•Makesureyouhavethecontactsheet,especially

the phone number for the lighting rental shop

and the production electrician.

•Eatsomethingortakefoodwithyou.Don’tbe

the doofus who walks in and asks someone to

go out and get him or her a sandwich.

General Run-through Tactics

•Checktheschedulefortheday.Itmaybethatthe

scheduled run-through has changed, been adapted

or aborted and you’ve just missed the memo. It’s

always embarrassing to find out just before the

rehearsal that, instead of the run-through, they’re

instead going to beat the dead horse over that

piece of business involving the dinner plate. And

then you have to somehow collect your gear and

subtly get out of the rehearsal room unnoticed.

•Arriveearlyandgetaseatwithatable,desk,

or music stand so that you can write and take

notes. It’s counterproductive to try to update

the cue master or make any notes juggling the

production notebook on your knee.

•Whenpossiblesitnexttothestagemanager.

Invariably there will be questions. The director

may want to sit next to you as well; you should

certainly be polite and ask the director of his or

her preferences. This may also be hinged on the

number of times you’ll get to see a run-through.

•Identifythecastmembersandconnectthemto

their characters; write notes about their names

and any descriptive features.

•Introduceyourselftothecastsotheyknowwho

you are.

•Ifneedbe,introduceyourselftothestagemanager.

•Bringeverythingyouneedinordertowritein

your production book, make notes on a pad, or

update documents on the laptop. Don’t be the

“needy” doofus designer who wastes the stage

management team’s time getting him or her

settled before they can start the run-through.

•Identifyallofthetapemarksonthefloor.Seeif

they match with where you think the scenery has

appeared on the groundplans provided to you.

*It’s worth noting that this particular stage manager, after years

of tolerance, agreed to become my wife.