Week 3: As You Light It

When I realized that my observations for tech and focus had to be on As You Like It, of course I was a little worried about how it would all work, as I am in the show. Yet, it all went swimmingly, and I must say it was an extraordinarily rich learning experience. I was not needed as an actor for the first night of tech, and I was able to sit at the tech table. The next morning I came in early for tech notes and was able to see the ways in which Darrin was adapting to what the director wanted.

At tech: I observed Darrin through the entirety of the first night of tech. I sat right next to the board operator, Dan, and was right in the action as he asked Stacie, the assistant lighting designer, programming questions. She explained to him how to remove soft blocks and I felt really smart that I understood what she was asking him to do.

There was so many different categories in which I was observing- on the fly composition, programming skills, and most notably, the dynamics between designer, director and stage manager. It seems every single tech challenge we have discussed in class occurred, and Darrin gracefully handled all of them. I recall one moment where the director called over to him, "Why does it look like we are on the moon?" nearly two seconds after the cue came up. After hold was called he quietly restated what they had discussed for the look of the scene and immediately began editing the cue. In such a small space, nearly every critique became public. There were plenty of moments where the SM announced that we were "holding for lights" and the pressure was never evident on his face. Despite any communication challenges between management and direction Darrin always kept his focus on the integrity of his work, the story, and doing his best to take input and peacefully collaborate. I also noticed: directors want more front light. A lot of it. I saw a lot of rich, angular compositions become flatter and warmer. He would get notes like "This is the first time we see the character, we need to see his face," or, "the text has to speak for itself here, I don't want the lights giving it away."

I did notice a few moments where I felt the light was proceeding the action. However, I wish a few times that the team would have considered the looks a little longer, as it could simply be a cueing or a timing problem. The director may have liked the cue more if it followed the action in a more natural way. It seemed nearly impossible for the timing to be perfect on the first go round.

At focus: Darrin was kind enough to deliberately show me a few things about how to focus as a designer. He at one point let me direct the electricians- asking them to sharpen, drop color, refocus, pan, tilt, the whole bit. It's so much about the order and efficiency of the language you use. He showed me how to stand so that I can see how the light hits the floor, and showed me how to look at the light on the back of my hand and look for dips in a system of lights. He told me what he was going for and then asked me to decide when it looked good. (Scary, but so rewarding whenever those lights come up and I'm on stage, I think, Oh hey, those look so good.)

I am in tech again now, sitting back by the table, watching intently as Darrin programs mirrors to create more face light on some entrances. I wish I could watch this show in completion, as I think it's quite the accomplishment. It's incredible how much work goes into a design like this and then how much it changes based on the tech process.

Cheers to Darrin and his team!