Development in the Lighting World

I spent all of Friday focusing lights, hanging fluorescent fixtures, adjusting positions, looking at color, and just plane having fun. It's what I do best with lights. I have a deep respect for the designer who can put it all on paper, hang it, focus it without ever having seen his lights on in the space and end with a final product that is wonderful, artistic, and integral to the production.

First, that's not my style. Second, I'm just not there yet, but I will be in due time. However, that doesn't mean that my designs are any less exciting to me, in fact, they are more exciting. I have the privilege of being in rehearsals with the actors exploring the world as they explore it. Putting lights into the space as they rehearse allows them to get comfortable with the world they inhabit even earlier than the usual academic week or less. I am used to having the show cued before tech, that isn't how it is done in the professional world, that isn't how it is done at UMass, and that isn't how I am going to do it until I have learned to cue a show on the fly.

Here are just a few photos from Friday's work, and as this week begins, we will see more lighting elements becoming a part of the space...


The work is done...we are missing a few lighting elements...


I can't wait to add all the scenic elements, then the lights will really be working...


I can't wait to see this with costumes...


This will be much more dynamic and exciting without work lights on...


And this will be amazing with all the other design elements in place...

Now, the challenge begins of developing a theatrical lighting design that will support and enhance the practical lighting design. I have a meeting today with my Lighting Design Adviser, and I know it will reap many rewards for this production as I prepare to present my full design on paper to our production team this Thursday. I am so very excited!!!

I Have Not Abandoned You

So we are in the thick of it! Just finished week two of rehearsals and we have touched everything at least once. People keep asking me "how're rehearsals going," and I answer "great!" So either I am delusional, or I actually feel really great about our progress. This cast is remarkably committed and their energy & care really brings me up. Rehearsal is something I enjoy. This has not always been the case on every show, I imagine it will not always be the case with every show going forward wither, but right now it is GREAT.

I spared this blog my experience of the audition process because well that's how rumors get started. I LOVE this cast and that is all that needs to be said where that is concerned. Wanna know who I cast? Visit this site http://umassauditions.blogspot.com/

The designs are continuing to evolve. So much so, that I was just presented with new lighting and scenic ideas on Thursday and Friday. I find that I am reasonably laid back, I am proud of that sometimes and other times believe this to be one of my many flaws as a director. I guess the only thing to do is bring everyone's ideas (mine included) back to the story. Are we telling the story. Gil says "focus on what has to happen" and let that guide my negotiations with the production team. That is great advice and so that is where I am at. How do all these great ideas (mine included) support what needs to happen. If they don't then we should save them for another show (mine included). I am excited that the work continues and that we haven't, any of us, become satisfied or complacent.

April Rodriguez, the composer for the show, sent us a remarkable number of beats and tracks that really excite me. Thad and I have been trying different ones out in rehearsal and I think that when we nail it, we will really create a world.

So in the beginning I was a little nervous about working with a dramaturg. That is something I have never done as a director, and the models used at the professional theatres I've assisted at aren't the UMass way so I didn't know what to expect. I think my ego was most concerned, but I must admit, it has been one of the most fruitful collaborations I have ever had. Maybe it isn't always this way, but Jason has felt like a real ally. I have come to appreciate the tough questions that once left me feeling put on the spot. Being able to discuss the play and my thoughts with some one has been really helpful in me solidify things for myself. Check out all the goodies he has prepped for the actors, http://umassburialatthebes.blogspot.com/

Next Thursday we will try a stumble thru. Technically the actors are still allowed to be on book so even calling it a stumble through is ambitious, but we will put the pieces to together and see what we get. I love taking time at the end of every work week to see how far we've come. That allows me to start the next work week with a clear sense of what we need to focus on.

You know that feeling sometimes of all the elements just falling into place. Well I believe in that and it hasn't failed me yet. So onward and upward I say.

Color Renderings

Chorus

Chorus

Chorus

Chorus

Chorus

Chorus

Chorus

Tiresias

Elder Chorus

Messenger

Guards

Haemon

Ismene

Eurydice

Creon

Antigone 2nd look

Antigone 1st look

Lighting the Installation

I just finished experimenting in the Curtain Theater with our flourescent lighting fixtures and a 3 foot strip light. I set both behind the corrugated plastic that we are planning to put above the set resting on that back wall, and the flourescent shields that we are planning to put under the risers of the set.

Here is what I found:

First, the flourescent spills a lot, and we would have to be comfortable with that anytime the instruments are turned on, the flourescent is a single color, and non-dimmable.


Single color, non-dimmable, flourescent with spill...

Second, the strip light is more containable, mult-colored, spreads more evenly, and is dimmable.


Red flourescent...look at the sides...this is more accurate as to what it looks like...


Blue...again, the side is a truer read as it is less bright...


Green...I'm not completely in love with green, but thought I would show it in case others are...


No color...and it reads much better than the flourescent with no color...

Third, in order to use any light under the risers, it would benefit us if we could cover the full face. It does not look good when you can see the lighting source. Again, I believe the strip lights are going to offer us the best results.


This is the best image I could get, but it looks much better in real life...as do all the images...

Fourth, the strip lights need to be moved back away from the flourescent shield and the corrugated plastic, in order for us to reap the best results.

Finally, I have been thinking about flourescents throughout the set and what that might look like. I think we need to be very specific about where these go and how they are focused or angled (I didn't used to think that, but after playing with them, it has become painfully obvious that I/we must make solid choices). That said, I want to see if we can have more of a dialogue about where these can go and why it would benefit us to put them there.

Here is what I think about locations... two overhead per audience section (maybe three for the center section), two over the set, two attached to the set, and perhaps a broken light or two near some of the fallen beams (no plastic, no light bulb, just open).

What do you all think? Any suggestions, gut reactions, concerns?

Air Raid Sirens

So I was thinking a bit about the air raid sirens that we are planning on using to jar the audience into the show by reminding them of the war and conflict in the world of Thebes that has just so recently calmed. I found a futuristic digital sound I thought might be fun to use to make the world a bit more timeless. There has been some concern that some of the other material that I have found might date the show too or be comical to our contemporary audience. I thought a digital sounding air raid siren might solve that problem. Have a listen... Futuristic Air Raid Siren

But after listening to some recordings of period sirens, I don't think this futuristic version I've created is going to work. It seems to comical to me and it doesn't have the same jarring power of the period sirens. Here are a couple of examples of period sirens we might use...

Period Siren in attack mode (the up and down tones you heard in my futuristic version)

Period Siren that has a deeper tone that I think will jar our audience right out of their seats

(Special thanks to http://www.civildefensemuseum.com for the source material. The Futuristic Siren was created by me using source material from http://www.freesound.org)

I'm thinking of going with one of these period sirens. Anyone have any thoughts?

Basic Information from the Office of Civil Defense...

Dawn mentioned in her last post about the thought of using Public Service Announcements from the Office of Civil Defense from the 1950's Cold War period in the is country. I wanted to share links to those sounds, and share some thoughts behind them as we begin to morph them into the world we are creating.

I discovered the two PSAs from a Civil Defense history site that I found while reviewing Jason's research on air raid sirens. (We're planning on using an air raid siren as part of the open sequence of the show.) The first one briefly explains air raid sirens and other warns people might hear. It can be heard here. The second one explains where to hear official instructions from the government, and warnings that the telephone should only be used for official business. It can be heard here. (The site where I found these and other similar PSAs is located at civildefensemuseum.com. Click the Audio Video link to hear more examples from the period.)

Its clear that we cannot use these recordings in their original format for several reasons including:

- the fact that they mention Washington and we don't want to confuse the audience -- the show is in Thebes.

- This type of announcement sounds very comedic to a modern audience

- They don't really say everything we want them to say

- They tend to put us more in an environment where nuclear war is the primary threat. The threat to the characters in our world isn't totally clear, nor does it really matter to the story in the end.

But, I think as both Dawn and I mentioned, that these make a great stepping off point.

More notes on sound to come...

And We're BACK!!!!

So after a little rest and relaxation the fall semester is underway, which means the production team for B@T is back to work. We had our first official production meeting of the term today and shared thoughts, ideas, and machinations on the preliminary design ideas that we worked on all summer.

We revisited many things that we have shared already BUT there have been some modifications. For one the sound designer, Thad Krammer, was at the table with us so we were FINALLY able to float some sound ideas around the ether. He has jumped right in and brought some samples of PSAs from the 1950's. While there is something about them that is very comical, I think they opened up some great ideas about how to sonically frame the show. Using sound to support the world we have created feels right to me and there may be some value in considering the incorporation of PSAs.

Dennis has made some modifications to the set. "The floor is out." When last we met Dennis presented the idea of a ruptured flagstone floor/deck treatment. And while the idea of texture was really exciting it did present some budget and staging concerns. What Dennis has come up with now is a great way to synthesize two elements that were important to us collectively. He will now imprint the state seal on the floor and add a high gloss finish. This keeps the emblem of the state that I think we all feel is very necessary, and have a floor/deck that is interesting and dynamic.

Esther has also continued her work on the chorus and Tiresias. I think things are really moving in the right direction.

BUT...I can't believe that final designs are due next week. I feel apprehensive about being "locked" in. The color story is still undecided and we haven't played with a model yet, so to know that we have 7 days to make these very important decisions makes me nervous. Other big decisions will be made in the next 7 days. CASTING!

Auditions and callbacks are next week and casting will more than likely happen on Friday because we start rehearsals that following Monday. I am SUPER EXCITED to be at the auditions stage. Things have felt very heady and intellectual up til now. And obviously almost everyone else on the production team has to be "done" before actors ever enter the equation, but for me and my work they are a whole 1/3 of the equation. It is clear to me that it is my work with them that makes me feel like I am doing something. Maybe that only makes sense to me in a sick and backward way, but up til now The Burial at Thebes has been a paper project.

Also had 2 meetings with GilMac about the show, as he is my advisor. What is really great about those meetings is that he is helping me and challenging me to find meaningful ways to articulate "what happens." A character flaw of mine is that I feel I talk to much (says the blogger to the parish), and I am sure I do. But I think sometimes in an effort to not talk to much, or not sound stupid, or say the right things, I don't say enough. So having the time and space to "unpack" or say "what it is," is of tremendous value.

Ok, well I've probably said too much.