Theatre Design & Technology - Winter 1996 - 29

distinguished
lighting
designer
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Design Commission of the United States Instintte for Theatre Technology, Inc. named Ken Billington its 1994 DistingUished Lighting Designer. Several highlights of his Broadway design career include Sweeney Todd, Hello DO!()I,
Foxfire, The Red Shoes, Meet Me in St. LOllis, and Tru. Billington is also a regular desigller for Radio City Music Hall
(the Christmas and Easter spectaculars), he works often in regional theatres such as the Mark Taper Forum and Paper
Mill Playhouse, designs for major opera companies (New York City Opera, Houston Grand Opera, and Chicago Lyric),
feels equally at home designing for Las Vegas acts like Ann-Margaret and Shirley MacClaine as for the Northwest Ballet,
frequently does industrials and television productions, and just to keep things interesting has done architectural Iighting installations for residences, offices and restaurants as far away as Guam. Billington is the recipient of numerous
awards and nominations, among them Drama Critics Awards, Ace Awards, Tony Nominations, Lumen Awards and Citations, and Drama Desk Nominations
KB Associates, where Billington is principle designer, currently has a staff of si, associates and assist:mts. The offices are on the 17th 0001' of an Upper West Side apartment building withjn easy access to Lincoln Center and the theatre district in mid-town. In recent years, KB Associates has moved beyond lighting design into becoming a complete
production :md design firm tailoring primarily to industrial productions and clients.
Billington modestly attributes his success to his early days of assisting ThaI'on Musser. "Clearly she made a very
significaIlt impression on me aIld if I'm a good designer today it's because I learned so much from Tharon-I always
say I went to Musser U. In those early days I learned just how to do it aIld the reaJjties of what it takes to do big shows,
Broadway shows." He also shies away (rom identi~'ing ltis own best or favorite work: "The show that I'm working on
tllis week is always the best and I'm not particularly wedded to staying within a particular style or venue. One week I'll
work in a very dramatic style that is velY stark with shafts of light aIld sanlrated colors willie the following week I'll be
lighting in a style that a reaJjstic production ntight require. I'm very good about working in all fields ...a Vegas act
might be followed by a musical or opera while the week before I may have done a television shoot or something for
Radio City. It's fun for me :lI1d I don't get bored with doing the same kinds of productions all the time."'
When asked about the longe\'ity of his career, he responds, "I tltink talent has a little bit to do with it, but I don't
think that that's what it's all about. As a lighting designer you're an interactive person. You aren't sitting in your garret
painting a picnlre. Your temperament and personaJjty are very crucial in how your career will hold OIl. If you have a
great personaJjty, are easy to get along with, do your shows well and they look good, you will have longevity. You'll
even be allowed a few blunders. If you are a brjlJjant designer but have temper taIllrums, are irresponsible and show
TD&T

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Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1996