Q:
5/20/2009

We currently have a drama teacher who has little to no clue about the technical aspect of theatre. Where can i go to get more information on lighting design?

Lawson B.

 

A:
6/12/2009

We first want to say that we think it’s great that you want to take the initiative to go out on your own and learn more about lighting design. The more you learn, the more you can convince your teacher and school officials that tech is an important part of a a high school theatre program. There are many ways to start learning more about lighting. The first is to read. There are several books available, most of which you can find in the ‘Bookshelf’ section of PLSN.com. One book missing from that website that we like is Richard Pilbrow’s “Stage Lighting Design: The Art, the Craft, the Life.” You might also try a local library (especially a college library) if you’re not ready to make the financial investment. Another inexpensive way to go is magazines. You can often find free subscriptions to trade magazines. Of all the theatre/entertainment/lighting magazines, “Stage Directions” is probably the most educational for people with little experience in the field. “Light and Sound America,” “PLSN,” and “Live Design” are all great for keeping up on current trends and technology. Even the best books and magazines will only go so far. Next, you have to work with people who have designed for a while. There are two ways to do this. First, find a local theater and volunteer/intern. It might be hard to get in before you’re 18 years old, but somebody somewhere will be interested in using you as cheap labor. The next way is to convince your teacher to bring in guest designers to design a show at your school and combine that with master classes. We have designed at a number of high schools and try to work with the students as much as possible. One last word of advice - stay positive. Lisa started her lighting career in high school. Her teacher taught her to focus lights at the actors’ feet. At the time, she didn’t realize how wrong that was. And yet, she stayed determined to learn more, and has come a very long way since then. So, read, intern, and work with your teacher to convince him/her that tech is an important part of theatre. Hopefully, your teacher will recognize your efforts and start to throw some of your school’s resources to the tech side.

Michael and Lisa

 

Q:
3/29/2009

What is the best way to meet new contacts and get potential design work as a new designer? If I work as a technician will directors and other designers take me seriously as a designer?

Sarah A.

 

A:
4/8/2009

That’s a great question.  We wish we could give you a simple answer that would give you all the work you need.  Unfortunately, we are still looking for a good answer.  We would recommend that you start with the job boards such as Playbill.com and Backstagejobs.com.  A subscription to Artsearch could also be a good investment.  For young designers, we would suggest internships and other opportunities to work with more experienced designers.  This is a great way to learn and also a great way to make connections.  You might also look for assisting opportunities for the same reasons.  Often you can find opportunities from employers that understand that you are trying to advance as a designer, not a technician.  If you live in a city like New York, there are quite a few openings to design in a closet-sized theater where you will be overworked for little to no pay.  This is a great way to get some professional experience in a low-stress environment.  These are great to practice what you love to do, but they won’t pay the bills.  

 

While you might be tempted to take on technician work for income between designs, be careful.  Some people believe that once you start working as a technician, you will always be seen as a technician.  If you want to become a technician, then that’s great.  If you want to be a designer, limit yourself. 

Michael and Lisa

 

Q:
1/22/2009

I've used various brands of gel over the years and have what I consider 'my palette' for most theatrical performances. I have been using more Apollo gel recently and am curious if the available Apollo colors fill your need for most performances. (?) How many additional colors should be added to consider 'your palette' complete?

Clay B.

 

A:
2/3/2009

We are in a similar situation as you.  We definitely have our favorite colors.  These go beyond just Apollo.  We designed for a long time before we really discovered the benefits of Apollo gel, and therefore developed a wide range of colors that we use from each of the major companies.  We tend to start picking colors from the Apollo swatch book.  For most needs in a particular production, Apollo has the gel we need.  In most shows, though, there will be something we need that Apollo doesn’t quite match.  This would be true no matter what company we start with.  No company will cover every need of every production, so most designers will pick from multiple companies anyway.  Adding too many more colors will just make the swatch book thicker, but probably won’t make much difference as far as which book a designer picks up first.

Michael and Lisa

 

Q:
12/30/2008

In your opinion, are college and getting a workforce job right out of high school equal options?  Are they just different, or do you think one has an advantage over another?

David H.

 

A:
1/9/2009

We often debate this question.  Both options have their advantages and disadvantages.  Before we went to grad school together, our experiences in higher education were very different.  Lisa believes you can learn as much or more in “the real world” as you can in school.  Michael argues that the basis of all of their designs comes from things he learned in college.  Here are a few things to think about for each option.  You pay to go to college, while a job pays you.  In a good college program, your professors will make sure you get a well-rounded education and learn the most up-to-date standards and expectations.  Depending on the job, you might be more limited and will not know what you’re missing. 

 

We both agree that you should never stop learning. College can be a good option, but if you choose college, do your research and make sure you find a program with a mentor who currently works in the industry as well as teaches.  If you enter college as an undergrad, make sure the program you choose doesn’t devote all of their resources and design opportunities to grad students.  If you decide to go the other route and get a job out of high school, don’t choose a job where you are a big fish in a small pond.  You aren’t done learning, and the only way to learn on the job is by working with people more experienced than you.  A small fish in a big pond will grow a lot more than a big fish in a little pond.

 

Your question is tough because every situation is different.  With the right job, you can learn, grow and get paid to do it.  However, in today’s economy, finding that good of a job will probably be more difficult than finding a good college program. 

Michael and Lisa

 

Q:
11/23/2008

How did you first get involved with theatre? Did you work in any other parts of theatre before finding lighting design?

Johnny B.

 

A:
12/3/2008

Michael:  I started college with very little interest in the arts.  I was a computer science major.  I got a side job working in the A/V department.  I started pushing overhead and slide projectors across campus.  Eventually I started running sound for some pretty big events.  When I started my second year, I also got to work as a stagehand in the touring house on campus.  I got to work backstage for some of the best dance companies in the country.  I enjoyed it so much, I ended up changing my major.  I took a set design class first to make sure it was the right choice.  I continued with the theatre major, eventually went to grad school, and have been designing professionally ever since.  I’ve also dabbled in sound, but certainly focus more on lighting.

 

Lisa:  I danced at my local dance studio from the time I was five years old.  I joined the stage crew in high school.  While I loved dancing, the tech crew at the time was more of a hobby than a career.  Eventually I graduated college with a degree in Microbiology.  I taught high school science for a year and moonlighted as an overhire in the local IATSE.  Between teaching contracts, I toured as a Stage Manager for a children’s theatre touring company.  I still thought of theatre as a job to fill in the time I’m not teaching.  Finally I met Michael at a summer stock theater and realized that I would be happy with theatre as my career.  I’ve directed a few shows.  I love to choreograph.  However, Lighting Design is my primary career and I am also an AEA Stage Manager.

Michael and Lisa