A Practical Guide to Stage Lighting, 2nd Edition

The Parameters

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and the electricians to operate them. The musical

form often involves representing several different

locations, which requires additional lighting equip-

ment that might not be needed in a less complex

“static” presentation. A realistic drama, on the other

hand, may not require the use of followspots to direct

focus, but the scenic design may require more indi-

vidual hanging positions, and requisite hardware, in

order to provide illumination, or successfully rein-

force the time of day. The complexity of the scen-

ery may potentially increase the amount of time and

money required for proper installation of the light-

ing package.

DEFINE BY ORIGIN

If the show is an original production, rather than

a revival, the lighting package needs to be adapt-

able. Depending on the intangibles of the person-

alities involved, and the spontaneity of inspiration,

entire productions may suddenly change direction in

the course of a single post-rehearsal meeting. Being

able to rapidly react to sudden requests may become

essential when the process is being explored on the

one-to-one scale model. Anticipating that possibility

and adjusting the amount and flexibility of the gear is

important to facilitate the exploration, and possibly

the ultimate success of the production. With that in

mind, savvy lighting designers construct the light plot

with as much flexibility as possible. That flexibility

may translate into extra gear, more dimmer distribu-

tion, or some amount of color changers or moving

fixtures.

If a production’s being remounted with the

same design team, on the other hand, the need for

rapid response in wild new directions will presum-

ably not be as severe. While that may appear to be

the case, wise lighting designers double-check who

exactly is going to be in charge for the re-mount-

ing. If it’s the old crew who swear they just want

to get the show up and go to the bar, the “simple

remount” may be just that; a challenge to regener-

ate the “looks” of the production under different

parameters to everyone’s satisfaction. Other times,

however, the “simple remount” by a bored artistic

staff may open the door for “improvements”: “But

we’ve seen that before. Don’t you have anything dif-

ferent?” Being asked to “improve” an existing show

on the spot can imply many things. More often than

not, it implies the need to turn to the producer and

ask for more money. Reinventing the wheel, espe-

cially at the last minute, can be very expensive. Be

certain that the director requests the change, inform

him or her of the ramifications of that request, and

be certain the producer is involved in the decision

to pay for the additional costs that will in all prob-

ability result.

Finally, if the show is an original with a subse-

quent life following its present incarnation, it may be

changing faster than it takes to get ready to move

to the next stop. In that case, it may take more time

to produce accurate lighting documentation than the

time available just to create the lighting. The archi-

val packet may need to be created and evolved as the

production is being mounted. If the show’s getting

mounted and then immediately moving onto a tour,

the lighting designer may need to ask for an addi-

tional pair of hands with a brain, in order to assure

that the lighting records are properly updated before

the show leaves town.

DEFINE BY MOVEMENT

A production planning to load-in to a single venue is

often tailored to fit into that specific theatre. If the

show will be touring to several different locations,

on the other hand, the flexibility of the lighting pack-

age may need to be more emphasized. The equip-

ment assigned to different hanging positions may

need to quickly shift or adapt to each performing

facility; fixed-beam ellipsoidals may need to be con-

verted to zoom units instead. The number of dim-

mers included in the lighting package may need to be

greater than required by the light plot, so that exist-

ing circuitry within each performance facility can be

incorporated into the lighting package. The light-

ing package will probably require more prep time

in the shop, so that it’s more clearly labeled for local

folks unfamiliar with the setup. Depending on the

complexity and the speed of installation, the pack-

age may be fitted so that the dimmer racks can fit on

either side of the stage and the cabling will remain

intact.

Touring with a package is a whole different

magilla, and often requires an additional set of skills

as both a designer and as an electrician. While it is

an advanced education, and a remarkable way to see

the world, it is not the focus of this book. Other texts

speak in much more detail about this facet of the

theatrical and entertainment industry.

DEFINE BY MODE OF TRANSPORT

If the lighting package is transported from a light-

ing shop or a warehouse to the performance facil-

ity, the type of transportation can affect the size or

configuration of the light plot. If a small truck has