What's it like being a lighting director in amateur theatre? After lighting 50 shows for Twyford Drama, and working on the upcoming production Entertaining Angels, our very own David Goddard should know! So we had a chat with him to get his insights…
So David, what does doing the lighting for a production involve?
Stage lighting is both creative and technical, and the mix changes depending on how complex a show is. I go through the show’s scenes with the director and stage manager to agree how we want it to look, then make a list of anything to be sourced or made, and work on these in the run up to the show week. I also look after the power supply for other electrical equipment on the set, such as a radio, or in one show when we had two vacuum cleaners in use.
The hard work is at the “Get-In”, on the Sunday before the show. With an early start, I begin by setting up and testing the dimmer racks (the backstage equipment which controls the lights). I then put the creative plan into action, choosing which lanterns (stage lights) to use, and where they need to be. I test they are working, pointing in the right direction and are focused.
Many shows have a general “wash” for the whole set, and I often don’t need to move many lanterns from show to show, except those for areas where there is something to highlight. I then install any fixtures like wall lights etc. Lanterns are plugged into sockets above the stage and connected back to the channels (outlets) on the dimmer racks. Some lanterns are on their own, while others are paired with others into one channel. They also have differently rated lamps, so it needs electrical know-how to ensure that each channel is not overloaded.
When the lanterns are ready, and the set is complete and dressed, I build the lighting plot, going through the plan to set the brightness of the lanterns for each scene in the show and any special effects. I also set up the house lights to create the right auditorium ambience for before and after the show, plus any backstage lighting for cast and crew behind the tabs (curtains). Each lighting “state” is saved to the control desk as a cue number which lets us run the lights for each performance consistently, and also allows someone else to run it if I’m not there. I run through the completed plot with the director and make any changes before rehearsals.
At the technical rehearsal I align each cue number to a point in the show, marking up my script as we progress. Rehearsals should be in “show conditions” without distractions so lighting and sound operators can concentrate, and set our cues correctly. After rehearsals, that’s the hard work done and it’s onto the show itself. Although I still have to concentrate on where the cues are, it finally gives the opportunity to watch and absorb the show. I am in radio contact with the stage manager during the performance and between us we ensure everything runs smoothly.
At what stage do you usually get involved in a show?
I normally get involved at the first production meeting, which is typically soon after casting has been completed (about 3 months before the show).
What do you enjoy most about the role?
Seeing the fruits of our efforts come to life on opening night, and hearing the applause from the audience in appreciation makes it all worthwhile.
Is there anything you find particularly challenging?
Sometimes a director may want a last-minute change, and it can also be frustrating when a lantern is pointing at a set point on the stage, for someone to stand in, and then they stand somewhere else!
How important do you think lighting is to a show?
Lighting is very important as it brings the show to life. The rest of the group put a lot of work into the set, the costumes and the props and without the right lighting, they can’t be seen to their best effect.
And how did you first get involved with Twyford Drama?
I was first involved with Twyford Drama when I was asked to come and do the lighting for the Spring 2006 show, Communicating Doors, and was so warmed by the welcome I received, that I joined the group to do more. I’ve now lit 50 successive shows for the group!
I had previously operated lighting and sound for two pantomimes put on by my church, and for productions with the John Lewis Partnership Theatre Group and Wokingham Theatre, but this was the first time that I had designed and built the lighting as well as operating it.
What do you think it takes to be suited to the role of lighting a show?
You need an appreciation of what looks right and professional, and be happy to experiment to achieve the best results. It’s always worth doing a bit more to make it great, else you regret it for the whole run. You must have a good level of understanding, awareness and confidence in using electricity, and you need to be happy working at heights. Personality wise you need to be flexible, patient and enjoy working in a team.
And what advice would you give to someone considering taking on the role in future shows?
Come in with your own ideas, be open to those of others, and together agree on the best!
Finally, what can audience members expect from Entertaining Angels?
A lovely play on a great set.
After our January 2025 pantomime, David will be stepping down from the lighting director role due to a move away from the area. We'd like to say a huge thanks to him for all his hard work and dedication over the years - he will be well and truly missed!
Given this, we are actively looking for people who might be interested in doing the lighting for a future show, with some training provided. Think you might be a good fit? Visit our Get Involved page and get in touch.
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