What is the role of the Lighting Designer?
The lighting designer works with the director to help create the overall visual element of the show. During prep, I meet with the director and set designer to talk about the preliminary ideas of the direction of the show. I find brainstorming ideas with the creative team to be one of the most exhilarating parts of the design. This is where the tone of the show is set. During rehearsals, it is time to take all of the ideas and tailor them to the show itself. Further ideas will come from how the actors move, interact and the emotions they create. During the run of the show, I’m out of there. My job ends on opening night. Much like the director, I turn the show over to the stage manager to present the final product to the audience.
When does your involvement with the production begin?
The creative team is usually selected around the same time as auditions for actors, so everyone is in on the ground floor. My first steps include reading the script and, if it’s a musical, listening to the score. Then it’s time to meet with the director. The script and score are only a reference at this point. I don’t start in on anything creative until the meeting because the director may have a very different direction in mind for the show than I do. After this meeting is when I really start my creative process. I take those ideas into rehearsal and sort of “put the meat on the bones”.
Technically speaking, what makes for a “good” or “bad” production? How can it affect the audience experience?
As with any art, theatre is subjective. It is difficult to say an artistic choice is “good” or “bad”. I have seen strange choices made before, and consequently, talked to the director or designer afterwards in regards to them. More often than not, they will have a reason for what they did, and it will be something I had not even considered. Beyond that, I think that poorly integrating a design into the overall show can lead to a “bad” production. If an audience member had a light pointed in their eyes for the entire show, or the actors can’t be heard, or the set has horrible sight lines…. These are issues that are going to irritate an audience. I think a “good” production results from a complete vision and balancing that vision across all of the show's elements.
What are some of the shows you’re working on or have worked on at The Rose?
I work full time in the Brampton Theatres technical department. Oftentimes I am working on a different show every day. Designing a show from the ground up is very rewarding but, often that time is not allotted. When a musical act comes in, they usually arrive around 2pm for an 8pm show so, there is no time to program cues. These shows are often run live by the in house technicians who have never seen the show before. I find these shows equally rewarding due to the “thinking on your feet” that has to be done and the quick pace of the day. Brampton Theatres also include the Lester B. Pearson theatre, Cyril Clark lecture hall, Studio Two and a mobile stage that goes to numerous events such as New Years Eve and Canada Day. With this array of venues and the variety of shows that come through, every show is a unique and new experience. I am currently working on the design for Barefoot in the Park which opens on the Rose Theatre main stage August 17th.
How did you get involved in theatre and lighting design?
For the longest time I just enjoyed lights, especially ones that flashed or changed colour. There was a time I wanted to be a police officer just so I could drive a car with flashing lights on it. This progressed into puppet shows that I would put on for my cousins in the basement. The shows eventually became so lighting heavy that I would forget to operate the puppet. I began doing actual theatre tech in high school as part of the stage crew and fully designed and operated my first full show in grade 12. When it was time to see the guidance counselor in my OAC year, I told her I was interested in lighting concerts and theatre. She directed me to some university lighting design programs and I chose to study at York University. Going into that meeting, I had never thought there were actual careers in theatre lighting.
What would be your dream show to work on?
Well, at the risk of stealing Molly’s answer, I would love to light Les Mis. The locations and score are both very dramatic; a great opportunity to play with light and shadows. I also tend to be a dark designer so the sewer, barricade and tavern really cry out for that grungy dim lighting. I think it would be a lot of fun. In the same vein, Phantom of the Opera would be pretty spectacular in the way it lends itself to special effects. I have done Jesus Christ Superstar in a smaller venue and I would love to do it again somewhere like the Rose.
What are some of the biggest challenges you’ve come up against?
I think, doing live theatre is a challenge itself. It can be very challenging to deal with all of the little curve balls that get hurled around especially during the transition from the drawing to the stage. I often say that theatre is an exercise in compromise. There is often very little time to get a show up and running so any hold up can be chaotic. There is always a struggle for real estate both backstage and onstage, even in a venue as large as The Rose. These obstacles must be navigated quickly because the opening date will not change. As they say, “the show must go on”. Every show creates its own unique challenges but, that’s half the fun of doing it. Have a plan, a back-up plan and a back-up for the back-up.
 |
| Mike Rainey - Lighting Designer |
The lighting designer works with the director to help create the overall visual element of the show. During prep, I meet with the director and set designer to talk about the preliminary ideas of the direction of the show. I find brainstorming ideas with the creative team to be one of the most exhilarating parts of the design. This is where the tone of the show is set. During rehearsals, it is time to take all of the ideas and tailor them to the show itself. Further ideas will come from how the actors move, interact and the emotions they create. During the run of the show, I’m out of there. My job ends on opening night. Much like the director, I turn the show over to the stage manager to present the final product to the audience.
When does your involvement with the production begin?
The creative team is usually selected around the same time as auditions for actors, so everyone is in on the ground floor. My first steps include reading the script and, if it’s a musical, listening to the score. Then it’s time to meet with the director. The script and score are only a reference at this point. I don’t start in on anything creative until the meeting because the director may have a very different direction in mind for the show than I do. After this meeting is when I really start my creative process. I take those ideas into rehearsal and sort of “put the meat on the bones”.
Technically speaking, what makes for a “good” or “bad” production? How can it affect the audience experience?
As with any art, theatre is subjective. It is difficult to say an artistic choice is “good” or “bad”. I have seen strange choices made before, and consequently, talked to the director or designer afterwards in regards to them. More often than not, they will have a reason for what they did, and it will be something I had not even considered. Beyond that, I think that poorly integrating a design into the overall show can lead to a “bad” production. If an audience member had a light pointed in their eyes for the entire show, or the actors can’t be heard, or the set has horrible sight lines…. These are issues that are going to irritate an audience. I think a “good” production results from a complete vision and balancing that vision across all of the show's elements.
What are some of the shows you’re working on or have worked on at The Rose?
I work full time in the Brampton Theatres technical department. Oftentimes I am working on a different show every day. Designing a show from the ground up is very rewarding but, often that time is not allotted. When a musical act comes in, they usually arrive around 2pm for an 8pm show so, there is no time to program cues. These shows are often run live by the in house technicians who have never seen the show before. I find these shows equally rewarding due to the “thinking on your feet” that has to be done and the quick pace of the day. Brampton Theatres also include the Lester B. Pearson theatre, Cyril Clark lecture hall, Studio Two and a mobile stage that goes to numerous events such as New Years Eve and Canada Day. With this array of venues and the variety of shows that come through, every show is a unique and new experience. I am currently working on the design for Barefoot in the Park which opens on the Rose Theatre main stage August 17th.
How did you get involved in theatre and lighting design?
For the longest time I just enjoyed lights, especially ones that flashed or changed colour. There was a time I wanted to be a police officer just so I could drive a car with flashing lights on it. This progressed into puppet shows that I would put on for my cousins in the basement. The shows eventually became so lighting heavy that I would forget to operate the puppet. I began doing actual theatre tech in high school as part of the stage crew and fully designed and operated my first full show in grade 12. When it was time to see the guidance counselor in my OAC year, I told her I was interested in lighting concerts and theatre. She directed me to some university lighting design programs and I chose to study at York University. Going into that meeting, I had never thought there were actual careers in theatre lighting.
What would be your dream show to work on?
Well, at the risk of stealing Molly’s answer, I would love to light Les Mis. The locations and score are both very dramatic; a great opportunity to play with light and shadows. I also tend to be a dark designer so the sewer, barricade and tavern really cry out for that grungy dim lighting. I think it would be a lot of fun. In the same vein, Phantom of the Opera would be pretty spectacular in the way it lends itself to special effects. I have done Jesus Christ Superstar in a smaller venue and I would love to do it again somewhere like the Rose.
What are some of the biggest challenges you’ve come up against?
I think, doing live theatre is a challenge itself. It can be very challenging to deal with all of the little curve balls that get hurled around especially during the transition from the drawing to the stage. I often say that theatre is an exercise in compromise. There is often very little time to get a show up and running so any hold up can be chaotic. There is always a struggle for real estate both backstage and onstage, even in a venue as large as The Rose. These obstacles must be navigated quickly because the opening date will not change. As they say, “the show must go on”. Every show creates its own unique challenges but, that’s half the fun of doing it. Have a plan, a back-up plan and a back-up for the back-up.
 |
| In rehearsal for Forever Plaid with Rob & Molly |
This is a year of classics for me. Getting a chance to direct Forever Plaid and Barefoot in the Park is a real treat.
In casting these 2 great shows, I made a conscience choice to bring in some familiar faces. Not only for their talent, but their genuine enthusiasm in helping us bring great shows to Brampton. I want to thank them all. I encourage you all to catch the ear of our company members either in the lobby after the show or at one of our Wednesday Talk-back sessions or opening weekend Saturday Socials. You'll get a chance to hear their genuine enthusiasm.
As for Barefoot in the Park, the main point of reference to most people is the iconic movie with Jane Fonda and Robert Redford. Its a great movie, but the differences to the stage play will make it easier to provide a fresh take of our own.
Both are great projects which I'm sure will be audience pleasers. I hope to see you there.
P.S. Don't forget to check out the Forever Plaid rehearsal video posted on the blog last week.
