Theatre Design & Technology - Winter 2001 - 52

PHOTO BY MS. ALIX JEFFRY
(ASMP)

Tharon Musser
to build a completely different cue. When finished, Billington asked
for the directors approval and once again was met with, "So, it's going to look like that?" Again, the cue was redone but this time Billington tried to press for more specific visual information from the
director relating to what was wrong with the image. He was never
successful in getting any more information from the director and
when finally done only got, "It's really going to look like that." At that
point, Billington and the other designers realized that they were on
their own and proceeded to create a design based on their own observations of the show. On opening night the critics raved about all the
design areas, including the lighting, and panned the director...who
was fired the next morning.
BW: What are the challenges of moving from one medium of
lighting design to another? What would you have done
to prepare you for that transition had you known that
you would be moving between mediums?
RP: I've always been one for admitting what I don't know. If I don't
know something I'll still jump off the cliff, but I'll also find an associate or someone else to help me out. I've often found associates
to work with me on projects that required a specific expertise. I
think that I can bring my eye to a project while I get that other
person's technical support to help realize the work.
KB: I also think that there is such a thing as basic lighting-there's
angle, color and intensity; and an understanding of the material, a
concept, having an idea of where you're going. You need an understanding of these no matter what you are lighting. Whether you're
lighting a truck, the Empire State Building or an actor holding a
rose on a stage. All of these require an understanding of the material and how you will take that material and show it off or present
it. After that, its simply a matter of using your skills to manipulate
the light. Architectural lighting is still about angle, color and
intensity...except you can't move a light when you make a mistake.
You'd better figure out the correct placement of that light the first
time. You need to be more careful about your design choices.
IF: My training in theatre said that you lit primarily with spotlights and
maybe a few floodlights and X-rays for borders and drops. In the television studios when I started, they had banks of fluorescent lights and
scoops. Floodlighting was the way they lit television; and with a tremendous amount of it. Not knowing that fluorescent lamps were important

1. Jose Limon Dance Company-where I learned light could
dance.
2. Long Day's Journey Into Night (1956)-my first
Broadway show; where I learned words could dance and an
exeptional director, Jose Quintero, could help me make my work a
seamless part of the production.
3. Shinbone Alley (1957)-my first musical on Broadway. I
was beginning to despair of ever getting the chance to light a musical. Directors and producers had pigeon-holed me in straight
shows. The book was co-written by Mel Brooks and the production
was designed by Eldon Elder. It was the first time a white man
(Eddie Bracken) kissed a black woman (Earth Kitt) on Broadway
and it was that long ago that it made a sensation.
4. Once Upon a Mattress (1959)-This was the show that
toured Broadway. We began in the Phoenix Theatre, moved to the
Winter Garden, Cort, St. James and finally to the Alvin. I had no trouble
figuring out the setup for the National and Bus Truck companies.
5. The American Shakespeare Festival Theatre and National
Repertory Theatre. During the late 1950s and throughout the 1960s
I was the lighting designer for fifty productions working in repertory.
This was invaluable experience in terms of distilling the essential in
a production. I'm sure it was a result of these productions that I'm
known for using very few instruments for my shows.
6. Mame (1966) was a watershed show for me. I finally made
some real money...this is also important.
7. Follies (1971) was a perfect show in terms of collaboration. Boris Aronson, Florence Klotz, Hal Prince and I created a stunning world. This was a very successful show with theatre people but
we couldn't seem to sell it to the general public. This was also my
first time working with Steven Sondheim, the musical composer of
the century. This was the first of three important shows we did together: A Little Night Music and Pacific Overtures had the
same integrity of vision.
8. The Prisoner of Second Avenue (1971) was the beginning of a wonderful association with Neil Simon and Manny
Azenberg. This association lasted through eighteen productions.
9. The Dallas Opera, Miami Opera and Mark Taper Forum (1970s
into the 1980s)-Opera is such a joy, where else do they pay you to
hear that radiance? This was an incredible learning time as I was Staff
Designer for the repertory setups for these companies. 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.
10. A Chorus Line (1975)-Michael Bennett, Bob Avian, Theoni
Aldredge, Robin Wagner. This was the creme de la creme of collaboration. From inception to opening night and beyond we each lived and
breathed the production with one mind. When we knew that the production was moving to Broadway from the Public Theatre and the Shuberts
had promised us anything we wanted, I knew it was time for lighting to
take the quantum leap to memory boards. If not for this production we
wouldn't have had that opportunity in so timely a fashion. The technology was crude by today's standards but it made its point.
11. Ballroom and Dreamgirls (1978/1981) the same dream
team. While A Chorus Line was linear, Ballroom was circular-
youth versus age. Dreamgirls was Michael's love of that Motown period and I will always think of him whenever I hear "I'm Not Leaving."
12. Broadway has passed me by now but not Theatre...I am
forever in love.
TD & T

W I N T E R

2 0 0 1

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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
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1970Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969Oct
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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