Theatre Design & Technology - Winter 2001 - 51

KB: For designing a Broadway show you get a fee that is set by our
union. The fee for a big Broadway musical is twenty-five thousand
dollars. It sounds like a lot of money but if you divide it up by two
years of work, its not as impressive. After the show opens, you get
a weekly royalty that the union says has to be two hundred a week.
So...if you've spent two years on a musical and you figure that it
probably worked out to be a dollar an hour, you can hope that
you'll still get your two hundred per week royalty. But, the show
closes on opening night! This is actually quite typical. Every once
in a while you get lucky. Richard was lucky with Showboat, I was
lucky with Chicago. At one point I was getting weekly checks from
eight companies worldwide. When that's over, I'll be back to
square one. You have to keep replenishing the Chicago's...so you
always have to do more shows. Luckily people call with other
projects. As much as I love doing theatre, I can make a lot more
money doing other things. At first it wasn't that way. I first started

Jules Fisher
Over 100 Broadway show credits in lighting design including
Hair, Jesus Christ Superstar, La Cage Aux Folles, Chicago
and American Buffalo with numerous other theatrical and musical lighting credits.
Tony Awards for lighting design include Jelly's Last Jam
(1992), The Will Rogers Follies (1991), Grand Hotel (1990),
Dancin' (1978), Ulysses in Nighttown (1973) and Pippin
(1972).
Additional lighting awards include: The Maharam, Drama Desk,
Critics Circle, American Theatre Wing and Illuminating Engineering
Society awards. In 1995 he was inducted into the Theatre Hall of
Fame.
Recent credits include: Angels in America, Victor/
Victoria and Bring in da Noise/Bring in da Funk (Tony
Award nomination).
Non-Broadway lighting credits include: The Rolling Stones and
David Bowie tours, national tours of Crosby, Stills and Nash, also at
the New York Shakespeare Festival and the Reunion on the Mall concert for President Clinton's inauguration, concert lighting for Barbara Streisand's film A Star is Born, Hallelujah Hollywood at
the MGM Grand in Las Vegas and the 1997 Academy Awards Special.
50

W I N T E R

2 0 0 1

TD & T

I think working with younger
designers helped keep me from
getting frozen into a system. They
kept asking for changes and I kept
seeing the possibilities. -TM
doing other projects because I thought they would be fun. After
doing several projects for large corporations, I found that they will
give you money gleefully.
IF: I ended up in television lighting, in part, because I needed a job
following college. I went into architectural lighting simply because
it was something that I had never done. I wanted to try it. It was
another challenge and money was a secondary issue.
KB: We have terrible time constraints when we work in the professional
theatre. You may have eleven to twelve hundred lights in a musical
with only two days for the focus. By the way, a rule of thumb for
planning your focus time is to allow three minutes for each light in
the plot. You have to have all your homework done up front and
know how to light the show right from the beginning. On a big
Broadway musical you'll get a week to tech...sometimes two. On a
play you'll only get a day. I can count on one hand the amount of
hours I have often had to light a show before the actors hit the
stage. Because of schedules your creativity has to be pretty much
what you envisioned from the beginning. Once you're in the theatre, you have to keep moving forward with the design...changing
as needed...never stop lighting the show.
RP: Some of the best lighting that I've ever seen has been done by Luc
LaFortune of Cirque du Soleil. He strips a theatre out, comes in
with a pile of equipment and plays around with it. He puts one
lamp over here, another over there. Mounting positions are created throughout the process and it may take weeks to cue a production. He develops the lighting through experimentation with all
the variables. However, this situation isn't typical of how most of us
are permitted to work. We are given a budget and a timetable and
you must stick to it. I'm great for working very fast. You've got to
focus everything bloody quickly and you've got to light the show
quickly because you've got to get the actors on stage. That's what's
important-the actors. The director wants to see the actors
onstage so you rough focus just to get the actors on stage. Then the
creative process really starts and you build the design up.
IF: I want to know what the director has in mind. I like to do my homework. If a director doesn't give me any information I dread the
process because I know that at tech he's going to start from
scratch and whatever I have is most likely going to change. I don't
feel that it's either a fair or very good way of working.
Billington recalls a production where he had lit the first ten sets of a
thirty-two-set show prior to having the director arrive at the theatre.
When the first cue was pulled up for the director, the design staff was
ecstatic. But the director leaned over to him and said, "Is it going to
look like that?" Billington replied, "Not necessarily," and proceeded



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2001

Contents
Theatre Design & Technology - Winter 2001 - 1
Theatre Design & Technology - Winter 2001 - 2
Theatre Design & Technology - Winter 2001 - 3
Theatre Design & Technology - Winter 2001 - Contents
Theatre Design & Technology - Winter 2001 - 5
Theatre Design & Technology - Winter 2001 - 6
Theatre Design & Technology - Winter 2001 - 7
Theatre Design & Technology - Winter 2001 - 8
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
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