![]() ![]() I hadn’t had a chance to sit down properly to chat with the set designer – she mentioned some hanging green bulbs in her statement that I (and the director) had never heard of until I read it, shortly before the bid interview we hadn’t worked out any sort of CAD plan of the space and I definitely hadn’t much more than a very hazy sense of exactly what I was going to spend my £400 budget on. There was still quite a bit, I freely confess, that was rather nebulous and undefined at bid stage. Some of my initial inspiration for the floor patterns and interaction between dancers and various conjuring symbols came from a show I’d seen at Assembly at the Edinburgh Fringe last summer – 4×4 Ephemeral Architectures, which featured a cast of four ballet dancers and four jugglers, with lighting design by Guy Hoars: With a great concept, and a great team – I didn’t take much convincing.īy bid stage, we’d considered some of the basics of what we wanted to achieve with the lighting (the colour scheme – dominated by greens, blues, and purples – was clearly defined the plan to use a cyclorama backdrop was in place the plan to use gobos to create various floor patterns existed, and though we hadn’t finalized which ones, we’d talked quite a bit about fractals and pentagrams in both lighting and marketing though we didn’t yet have a choreographer, Cai and I had talked about some fun ways to light the demons/devils and the overall aesthetic of show was certainly something the production team had settled on fairly early). I’d been on the production team as lighting designer, however, since the previous term: Cai first mentioned the idea to me back in early Michaelmas 2015, while we were working together on The Three Musketeers. Photograph by Russell Johnson set design by Abby Clarke lighting design by Katrin Padel costume design by Jennifer Hurd. The Phantom of the Opera, Keble O’Reilly, 2016. The bid deadline for Doctor Faustus fell precisely in the middle of the show week for The Phantom of the Opera (in fact, the day of opening night was also the day of the bid deadline, and we didn’t finish tech until shortly before the house opened for the first show) – so I didn’t actually get a statement written, because I was slightly too busy trying to make sure the eyelets on these didn’t fall off: Job: Lighting Designer & Dancer (& Pyrotechnics) ![]()
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