Theatre Design & Technology - Spring 2013 - 14

"Hmmm," said I. "So, what are you going to do about these issues?"
"Why, we're going to buy some more of the fixtures, of course!"
I was stunned. At that moment, I had a technology epiphany: We're in the middle of a truly disruptive technology shift in
the entertainment industry. Probably the last one of this scale was Thomas Edison delivering the light bulb to the stage door,
and the gas jets getting shut off by the plumbing department.
The appearance of solid-state lighting is apparently a technology so compelling that it sweeps aside lots of the artistic
precepts we've lived by for years. It appears to be pushing the "good enough" line downwards in lot of areas like color choice,
color rendition, smooth dimming, consistency between fixtures, and quality of light.
How is this possible? I scratched my head for quite a while on this question. The inevitable conclusion is that some technologies have a "killer app" buried in them. It might be lowering the cost of a device by an order of magnitude, so you have to
buy it. It might be having your entire music collection in your pocket. Or in our case, it might be the seductive nature of having
thousands of colors-even approximate colors-available from every light in the theatre at the push of a button. That single
feature puts a lot of downward pressure on the good enough line for other performance features, even ones that were previously "must haves."
My friend the late Tharon Musser, one of the most talented lighting designers in the world, often decried what she called
"supermarket lighting." This was the technique of hanging the whole supermarket of lighting fixtures in every possible position
in the theatre, so that forethought and planning would become less crucial. The results of this approach were rarely artistically
satisfying, which is why in a Tharon Musser design every light and color in the theatre had a carefully pre-planned purpose. But
that approach is hard! And it doesn't work well when confronted with a mercurial director or set designer-there's no inherent "Plan B" for a lighting designer when the production is confronted with radical change, other than getting the ladder out.
But with LED fixtures that change color, Plans B through Z are instantly available. But beware, for danger lurks here: "Let's not
worry too much in advance about planning the design, we can make it up on the fly!"

Now, that's not to say that this killer app is only compelling to less-than-stellar non-planning lighting designers. A Tony
award-winning Broadway lighting designer-one with Lion-like skills-told me a few weeks ago, "LED's are great for lighting
drops and surfaces, but I won't use them to light people." I listened up: this was a far cry from "Build me an all-LED theatre."
I was anxious to hear from someone who steadfastly resisted downward pressure on his artistic good-enough line in the face
of a new technology typhoon. He laid out a few simple reasons why LED technology can't currently do what he needs to light
people. They made a lot of sense. I was relieved: here was a noted lighting professional who was using LED's selectively rather
than drinking pitchers of LED Kool-Aid.
The Brits have a great expression: "Horses for Courses." By which they mean, of course, that not every tool, even an exciting new technology, is suitable for every application. In 1987, Ken Billington and I went to LA to see a new production of
Tristan und Isolde. (True confessions: after the long flight, we both nodded off during parts of the five-hour production).
The director and designer was David Hockney, and it was an "all Vari-Lite" design. Vari-Lite and Wally Russell, then the LA
Music Center Opera technical director, had donated an all-VL rig to the production. The grand experiment of the first ever

12

theatre design

& technology

s p r i n g 2013



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2013

Contents
Theatre Design & Technology - Spring 2013 - 1
Theatre Design & Technology - Spring 2013 - 2
Theatre Design & Technology - Spring 2013 - 3
Theatre Design & Technology - Spring 2013 - Contents
Theatre Design & Technology - Spring 2013 - 5
Theatre Design & Technology - Spring 2013 - 6
Theatre Design & Technology - Spring 2013 - 7
Theatre Design & Technology - Spring 2013 - 8
Theatre Design & Technology - Spring 2013 - 9
Theatre Design & Technology - Spring 2013 - 10
Theatre Design & Technology - Spring 2013 - 11
Theatre Design & Technology - Spring 2013 - 12
Theatre Design & Technology - Spring 2013 - 13
Theatre Design & Technology - Spring 2013 - 14
Theatre Design & Technology - Spring 2013 - 15
Theatre Design & Technology - Spring 2013 - 16
Theatre Design & Technology - Spring 2013 - 17
Theatre Design & Technology - Spring 2013 - 18
Theatre Design & Technology - Spring 2013 - 19
Theatre Design & Technology - Spring 2013 - 20
Theatre Design & Technology - Spring 2013 - 21
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Theatre Design & Technology - Spring 2013 - 27
Theatre Design & Technology - Spring 2013 - 28
Theatre Design & Technology - Spring 2013 - 29
Theatre Design & Technology - Spring 2013 - 30
Theatre Design & Technology - Spring 2013 - 31
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