Theatre Design & Technology - Winter 2001 - 59

run the show, you're seen as an electrician and you don't need that
kind of experience. Often in Off-Off-Broadway the only person
getting paid in the entire company is the electrician who is running
the board. If they say they can't afford an electrician, maybe you
can't afford to do that show. At some point in your career you become accustomed to making a living and its hard to cut those ties
as you make the transition into becoming known as a designer. Are
you passionate enough about designing to make the sacrifice?
IF: The more networking that you can do the better off you will be. The
more people that you meet and know-or who know of you-will
increase your chances for future design contacts. Go to parties and
socialize with the right people. The first job I ever got lighting an
industrial (a Milliken production which was one of the largest
industrials of the time) was secured at a cocktail party through

meeting a fellow Carnegie alumnus who was the producer. I continued to light the annual event for twenty years.
Pilbrow humorously relates how his first professional design came to
him through a former colleague. The offer came about when his colleague, an old time stage manager, asked if he would be interested in
lighting a show. Pilbrow asked just what kind of show and was told
that it was a "girly show." He didn't think much about it and agreed
to be at the theatre at ten on a Sunday morning. When he arrived, he
proceeded to hang his lights and was informed that he was to also
run the board for the shows-one every hour beginning at noon. He
already had a previous stage managing commitment and said that he
couldn't run all the shows but did agree to run the first four. When it
was time for the first show around a dozen sweet young girls came
onto the stage and to his amazement proceeded to take off all their
clothes. While the dance continued he found
himself trying to concentrate on running the light
board while being asked to hold the girls' bras in
what was already an extremely small but seemingly shrinking wing.
RP: Networking is absolutely essential. Twenty-five
percent of my jobs come out of the blue-seventyfive percent come from friends and associates. In
reference to making the switch from master electrician to designer...you just have to make the change.
BW: How much homework should one do
before your initial meeting with a director?
IF: The more homework that you do the better
equipped you will be. Don't go in and say that I've
done my homework and this is the answer for the
production-that is disaster. Do your homework,
but go in with an open mind and mostly listen.
RP: The director is the leader, listen to them.
However, you do have to determine if the director
is saying what they actually mean.
KB: You have to have some sense of concept going
into the meeting but I'm much more interested in
how we see or understand the play. Listen to the
director at the first meeting-it's about listening
to him-don't come in doing all the talking because he may be coming from a different perspective or point of view. If you say too much about
your personal interpretation and concept, and it
doesn't mesh or isn't at all what he may have been
thinking, you may be in trouble because he may
think that it will be easier to get someone else who
is more neutral in their views regarding the play.
Do your research and be well-prepared but let the
director do most of the talking.
BW: How does collaboration work into
your process as a lighting designer?
All agree that collaboration is important. If
communication doesn't happen among the creative team, there will generally be nasty consequences. The director is the person who is
responsible for making collaboration work.

58

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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_1965Oct
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http://www.nxtbookMEDIA.com