Theatre Design & Technology - Summer 1998 - 32

nization required to achiere successful changeorers from one production to another. :\ sampling of the ~Iet's focus charts for Tbe
Rake's Progress (page 28) illustrate a complete record of ererr pertinent change necessarr to hang. color. circuit. and focus the plot.
Trim heights. group assignments. and all focus information are metiClilou ly documented throughout the paperwork. :\dditionalh'. focus notations that change throughout the performance along \rith
information that the deck electricians require such as the addition or
striking of instruments for a giren scene are indicated. An example of
this is the Grareyard Scene (Act 111-2) \I'here fixtures \I'ere added under the trap for 'iick Shadow's descent into the grare.

the tree borders in the exterior scenes. ,-\dditional specials and assignable circuits such as the floor circuits hare also been identified
elselrhere on the magic sheet. The lo\rest portion of the magic sheet
identifies the color srstems that were used to light the backgrounds
from the groundrow and top hanging positions on lineset 9.1. These
\rashes contain nro system of L-161 along Irith a system of L- 20 I
and R-80 for the backgrounds.

Key Lights and Side Lights

Tipton's lighting adds a crisp etching to many of the scenes within
Tbe Rake's Progress. primarily through the emphasis she placed in
side lighting. Strong key ligllls also characterize the lighting for ser~Iagie Sheet
eral cene. Rakewell's apartment (Act 11-.1), pictured on page 2.1An examination of Tipton's magic sheet for Tbe Rake's Progress resho\rs a motirating light coming from the exterior that floods into the
veals a number of lighting srstems. The larout of the magic sheet beroom from behind the rarious \rindO\rs. The natural cool hues of the
gins at the top \rith Tipton's front color \rash srstems (L-161, L- 20 I,
cyc (as seen through the upstage windo\ls) along with the light that
and the L-202 Tongue lighting srstem). 'iext. Tipton has laid out the
illuminates the exterior buildings combine to offer a contrast with
box boom (front diagonal) systems-again using L-20 I. L-202. and
the overalllightir tinted backlight of the setting. The combination rea no color series of \rashes. The next portion of the magic sheet illussults in making the image appear crisp and \rell-modeled. The crisp
trates the backlight fill srstem (the PAR 64 units that \rere added to
quality is also apparent on Baba's personal possessions such as the
the rep plot on lineset ,,)). a series of high-pipe-end circuits (chanlarge shark that hangs from above the setting. The crc wasn't used
nels 601-60-1 and 61-1-61-). dO\\'tlstage sidelight positions from the
much, except in the grareyard scene (Act 1II-2) \I'here the crc is coltorm and curtain \rell pOSitions, and the majoritr of the practicals for
ored in a deep blue to indicate dawn. Even in this case, a blackout
the production ..-\long the left-hand margin of the magic sheet Tipton
curtain Iras used throughout most of the scene to create the effect of
lists the scroller color designations for the) K\r and 10K\\' galien'
the nigh time sky. A significant contrast is found in the lighting of
and backlight fixtures. The next section of the magic sheet describes
Rake\rell's apartment in the scenes before and after his marriage to
rarious accents and specials. including the Hill! fixtures. rarious
Baba. In the scene prior to the marriage the apartment has a crisp
\I'indo\r and other scenic specials, and a series of fixtures for lighting
cool quality. A significant contribution to this orerall qualitr lies in
the use of the HMI units that Tipton used for
Rakelrell's apartment for this scene as comntensive conservatory
pared to the \rarmer broken-up quality of lighttraining in the heart
ing found in the later scenes. These HillI units
of Chicago's dynamic
\I-ere focused into the apartment from behind
theatre scene
the setting and cast crisp shafts of light through
the immense \I'indO\rs that \rere built into the
Highly selective
upstage IraU. The production photograph of the
programs in Costume
asylum scene (Act 111-3) on page 23 also clearly
Design, Costume
illustrates this quality \rithin the lighting. In this
Technology, Lighting
case, the direction of the key lighting has been
Design, Production
changed to the opposite diagonal. Within the
Management, Scenic
asylum the color also shifted to a slightly
Design and Theatre
Irarmer orerall hue \I'ith a green tint which
Technology
made the Il'hite light appear pink. Despite the
green tint the ore rail color is still verI' much
Faculty of
contained within the lightlr tinted range.
Professional Artists
Throughout the entire production. Tipton suggests the importance of light coming from
The Theatre School
within the space or rooms that are representing
DePaul University
the primary setting.
2135 North Kenmore Avenue
In addition to keeping a strong modeling
Chicago, Illinois 60614-4111
312-325-7999
quality for the performers, Tipton maintains a
1-BOO-4-DEPAUL, ext. 7999
high lerel of I'isibilitr \rithin her frontal lighting
(outside Illinois)
systems which results in the performers' faces
being clearly lit even though her design's emphasis \ras not on front light. Even Tipton's
RegiOnal
lighting
for rarious night/evening scenes had a
Portfolio Interviews
clear degree of visibility on the performers. An

HI')

TD& T

Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1998