There is nothing in this world that is more humbling than
being part of something larger than yourself. Something, that when all the
small pieces are put together, they form a masterpiece. This is my understanding
of theatre. The greatest moment of this understanding is when you finally
settle in one of the seats and get to watch the 180 hours of work come
together. To inhale deeply as the lights dim and the music fades up; there is
not greater understanding.
My experience in the Birmingham Southern Theatre is unique
because, unlike most of the students, I can always be found in black behind the
stage or behind the drafting table. My passion lies in the technical side of
theatre. Starting at props design,
growing to scenic design, and finally peaking at lighting design. Being on crew in each of the fields and later
heads of these crews, I finally found my ‘nitch’ as a designer.
The past Spring, 2012, I was honored to be the Lighting
Designer for the theatre’s magnificent production of RENT by Jonathan
Larson. It was here that I found my true
calling and my future career.
Designing the lights for any show is no easy task, even if
you have taken a lighting course, understand the mechanics of lighting instruments,
and have a creative eye. Designing lights is the columniation of all of your
knowledge in lights, your creative eye, and your ability to take risks.
Specific to RENT, my experience was nothing short of life
changing. I spent over 180 hours working on the show. After reading the script
three times and understanding not only what is happening via text, but also
what is unsaid, I began to formulate my design.
Using blank pieces of computer paper, I would sketch the stage and the actors’
positions. Then I would use a gel book (full of the colors to change the
lighting color) and tape colors I felt would be of use to me. Some pages were
full of 20 or so cuts of gel. As the rehearsals progressed I would change my
design according to new discoveries for the actors and myself. During this time
I would also be writing in my script the lighting cues, when they should come
on and when they should fade out. While working on the creative design aspect
for each scene (also known as specials) I was creating the base lighting that
would be present in every scene. This lighting ensures that the actors and the
set will have adequate coverage so they can be seen from the audience. There are many methods to a base lighting system,
however I decided to take one of the famous ones and create a reverse of
it. In my opinion, I think it worked
well with the specials that I added in.
Finally after creating the base lighting and then all the specials for
each scene, I would program them all together during the week leading up to the
show. We would run through every rehearsal with the lights, sound, cues,
signing, and dancing. By the opening of the production, we had a pretty darn
show to perform.
This process took place over about a two month period, with
late nights, early mornings, and the blood, sweat, and tears of the Lighting
Crew and myself. We worked tirelessly on this show, and I feel that it was
phenomenal.
Thank you all for reading and I hope that everyone will have
the chance to be involved I a theatrical production, especially on the
technical side! I cannot wait to
continue my love for lighting design during this final year at Birmingham
Southern and carry on into my future.
Love & Lights,
