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.
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| 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.
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| 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.
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| Molly Cramer - Stage Manager Extraordinaire |
To sum it up in one sentence: a stage manager’s main job is to maintain the artistic integrity of the show and liaise with the cast and technicians. We schedule rehearsals for the cast, costume and wig fittings, and technical rehearsals, as well as communicating the director’s “vision” to the designers and builders. During rehearsals we take detailed notes of the actors’ movements, prop business, and costume changes in a master copy of the script, which is called a prompt book. This way, if an actor forgets where they need to be or what they need to be doing, there’s someone there to point (or push!) them in the right direction. During the run of the show, the stage manager calls all the lighting, sound, fly piece and set change cues so the show stays exactly the same every time it’s performed, both onstage and backstage. This can get very complicated when you’re working on a show that has hundreds and hundreds of cues in it, as everything needs to be timed perfectly to look right. It’s certainly not a job for everyone, but I wouldn’t want to do anything else!
What shows are you working on in the 2012 Summer Theatre Season and what are your thoughts on them so far?
I’m currently in rehearsals for Forever Plaid, which runs on the main stage from July 13-28, and I will be stage managing Barefoot In The Park on the main stage from August 17-25. Forever Plaid is shaping up wonderfully so far…we have an incredible cast and creative team who are so talented and lovely to work with, it’s a dream come true! I’m very excited to be stage managing both of the shows on the main stage this summer; I worked in the studio for the 2011 Summer Theatre Season, and it’s great to experience working in two very different spaces.
What would be your dream show to work on?
I would love to work on a massive show like Les Misérables. There are so many elements that are involved in that production, I think it’d be incredible to see all that goes into it. I’m also a huge fan of the music in it, so it would be a joy to hear it performed every day!
Do you find it difficult to watch other productions without critiquing what’s happening?Working in theatre can be a bit of a curse in that regard! I tend to notice strange things that a “normal” audience member might not, so it’s easy for me to get distracted while watching a lighting cue, or wondering how a particularly complicated scene change was executed, or thinking about how many people it took to change an actor from a wedding dress and a skin-tight leather body suit and a different wig in under 10 seconds.
Any advice for up and coming theatre lovers who are considering a career behind the curtain?
Get involved with community theatre! There are tons of community theatres all over Ontario, with people of all different experience and skill levels. It’s a great way to try out the theatre world and see if it’s something you’d like to pursue professionally.
We dropped into a rehearsal for the super fun Forever Plaid earlier this week to snap a couple of photos and a quick video. The guys are hard at work and the show is going to look amazing when it hits the stage in just 2 weeks! Here's a sneak peek!
‘Chaos! This is complete chaos!’ is what you would think if you walked in midway to a rehearsal for The Last 5 Years. Either the actors' eyes are filled with tears or we are laughing hysterically at something we couldn’t possibly explain without driving further into hysterical laughter. That kind of ‘bipolarness’ is simply what happens when you rehearse a show like this.
The Last 5 Years is arguably modern music theatre’s toughest sing. Jason Robert Brown or “JRB” in the biz, is a genius composer and lyricist. To get an idea of his style, imagine someone took Billy Joel and sprinkled in some Stephen Sondheim. The music transcends genre, plays on themes and speaks to different 
parts of you. The show is arranged for piano and strings. No drums, no horns, just two cellos, a violin, a grand piano and a guitar. The music is funny when you want to laugh and the strings weep when there is sadness. It is beautiful.
parts of you. The show is arranged for piano and strings. No drums, no horns, just two cellos, a violin, a grand piano and a guitar. The music is funny when you want to laugh and the strings weep when there is sadness. It is beautiful.
The lyrics - sharp, funny, poignant, and at times very heavy dealing with subjects of love and careers - are woven together to tell the story of a couple's five year relationship. Just to make it super duper hard, the characters start on opposite sides of the story: Cathy starts at the end and works her way back to the beginning and Jamie from beginning to end. They meet only briefly in the middle for a perfect moment. Sounds complicated? It isn’t. Once you know that's how it works, it all just washes over you. These characters are so incredibly real.
To tell this story, actors must dig into their histories to find similar experiences and own their characters. This sometimes causes rehearsal to sound like group therapy and me as the director to go home emotionally exhausted. That being said, this team works so well together as we mine each other’s lives for inspiration. I have directed around 25 or 30 shows and I have never laughed and cried so much. I am halfway through the process and I am so excited to get this show on the stage.
The Last 5 Years is on stage in Studio Two from July 6-28. Danny will also be directing Storm Warning in Studio Two from August 3-25. Visit www.rosetheatre.ca or call 905-874-2800 for tickets.
It’s right around the corner! The 2012 Summer Theatre Season opens in just a few short weeks, so if you don’t have your tickets yet…. well, what are you waiting for?! After a slightly more serious turn last year, music, love and laughter abound once again with this year’s fun, friendly line-up of 2 musicals and 2 plays. Here’s a quick summary of what we have to look forward to.
As in past seasons, audiences are invited to stay for the Post-Show Talk Back following each Wednesday performance and Saturday Socials (light receptions) following the first Saturday performance of each production.
Tickets for the Summer Theatre Season range from $27-$37 and are on sale now through the Rose Theatre Box Office. Visit http://www.rosetheatre.ca/ or call 905-874-2800 for more information.
