A Practical Guide to Stage Lighting, 2nd Edition

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A PRACTICAL GUIDE TO STAGE LIGHTING

curtain, rise up as a guillotine curtain, or combine

the movement, like a tableau curtain? What is

the speed, in seconds, of the movement from full

open to full close? If the main curtain’s action is

guillotine, does it have a split in the middle for

performers to pass through during bows?

•Thedepthofthestage,fromplasterlinetothe

first lineset, the last lineset, to the back wall, to

the front edge of the apron.

•Thewidthofthestage,indicatedasthe

measured distance from centerline to each side

wall. Any interesting architectural challenges

or obstructions, either on the stage or in the

air. The location of any traps, floor pockets, or

lighting troughs in the deck.

•Thelocationofthesightlinesintheaudience

(typically not indicated on the draftings of the

facility; this information is required to determine

accurate electric and border trims).

•Theidentityofallfrontofhouselighting

positions, and the number of balconies. The

near and far sightline locations for each

balcony.

• Thetypeofflysystem.Thenumber,identity,

length, and location of the battens. The load limit

above batten weight (which will determine the

number of instruments possible on each batten).

Location of fly rail. Can the sheaves be kicked?

•Ifnotaflysystem,thepipeorcatwalklayout

over the stage, and the accessibility to, and the

hanging methods for, those lighting positions.

•Heightofthegrid,pipetravel,loadingrail.

•Thesize,numbers,andconditionofthehouse

soft goods: legs, borders, blackout drops, or

backings. (If the show plans to use the house

masking goods, it’s critical to know the height of

all of the legs. These dimensions typically have

the greatest potential affect on all border trim

heights.)

•Anythingspecifictotheproduction:analternate

crossover other than the upstage portion of the

stage, booms that require to be lagged into the

deck, traps in the stage, to name a few.

•Existence,specifics,andlocationsofallpower

distribution panels included in, or close to, the

stage.

•Existence,specifics,andlocationsoftheheadset

system.

•Existence,specifics,andlocationsofany

production tables.

•Thesize,accesspath,andadjacencyofthe

loading door to the stage. Lighting on the

loading dock for night deliveries.

•Namesofotherproductionsthathavebeen

presented there in the recent past. Names of the

lighting designers or production managers, who,

when contacted, may provide additional insight

to the facility or personnel.

Shelley’s

Note s

Shelley’s Notes:

Advancing the Performance Facility

Whenever possible, a site survey of the performance

facility should be part of the lighting designer’s ini-

tial agenda. In a perfect world, the entire design and

artistic team all simultaneously converge for a tour

of the performance space. It’s possible that major

decisions can be made in short order, when the col-

lective group required to make those decisions are

all together seeing the same thing at the same time.

In some cases visiting the theatre is as simple as

walking down the hall and opening the door. In other

cases the theatre may be locked, and arrangements

must be made to meet someone at the theatre with

keys. When access is constrained, schedule conflicts by

other members of the design or artistic team may delay

the appointment when the group can collectively meet

and tour the stage. Most designers believe that phys-

ically being present in the space, even for a moment,

gives them a sense of the space. For many, having that

sense is so important that, after a point, getting into the

space, regardless of who else is available, is more impor-

tant than standing upon ceremony. Waiting for a tour,

so that the rest of the team can be present, sometimes

becomes a courtesy that must be abandoned, in order to

see the space at all. While it might be perceived as impo-

lite to visit the performance facility without the rest of

the members of the design team, it’s an unwritten under-

standing between working professionals that sometimes

schedules conflict, and you have to move on.

With luck, the lighting designer can then return

for another viewing when the rest of the design team

can also all convene. Sometimes this schedule works

to the lighting designer’s advantage. The first indi-

vidual visit can strictly focus on assembling infor-

mation and taking initial measurements about the

space. When the entire team assembles at the space,

it’s then a return visit for the lighting designer, and

his or her concentration can be on interaction with

them, rather than splitting focus and simultaneously

trying to acquire information about the space.

Shelley’s

Note s

Shelley’s Notes:

Advancing Venues

Any time that you’re provided with the opportunity

to see a space before load-in, pinch yourself. In my

experience, it doesn’t happen all that often. And if you

get to see the stage without some other show “in the