Theatre Design & Technology - Summer 1999 - 17

Electrical Equipment List
Show Boat
Auditorium Theatre * Chicago, Illinois
Revised December 18, 1995

Producer

General Manager of Production

Live Entertainment Corp. of Canada

Frank Scardino, Live Entertainment

Lighting Designer

Technical Director

Richard Pilbrow

Peter Lamb, Live Entertainment

Associate Lighting Designer

Production Electrician

Dawn Chiang

Greg Husinko

_

General Notes

* Entire package is to be made ready by supplier and is to include all connectors,
cables, controls, frames, etc. So as to
comprise a complete, working system.
* All units are to be supplied with appropriate
lamp, gel frame, c-c1amp & lamp safety.
* All gel frames should be painted black
(front and back).
* Provide spare lamps for each type of unit,
as per electrician.
* All equipment, hardware, perishables, cable
lengths, power and control distribution
requirements as per electrician.
* All color changers to be supplied with face
plates.
* All color scrolls to be made and loaded by
shop.
* All applicable lamps to be supplied with
quartz lamps

_

Equipment Totals
2

lO-inch Fresnels, Skw
1 8-inch Fresnel, 2kw
1 lnkie, IS0w
2 Altman 3}2 x 8, 7S0w
11 ETC Source 4, 36° ellipsoidaIs, S7Sw
124 ETC Source 4,26° ellipsoidaIs, S7Sw
148 ETC Source 4, 19° ellipsoidaIs, S7Sw
38 ETC Source 4, 10° ellipsoidaIs, S7Sw
48 ETC Source 4, S° ellipsoidaIs, S7Sw
After seeing pictures of the GKP projection system used in Vienna in the 1930s, Pilbrow began to look at German-made projectors by
Reiche-Vogel. These Genmm projectors used
large-format slides and provided a much \vider
beanl angle than conventional Blitish equipment.
They also had a significantly blighter image.
One of the first big projection designs
that incorporated the German projectors was a
British production called One Over Eigbt.
Tony Walton was the scenic designer. The production used a deep hall-circle cyclorama.
Two projectors on either side of the stage were
placed at a very steep angle in the false proscenium, providing complete image coverage and
still allowing the actors to walk within four feet
of the backdrop. The projectors were an amazing innovation. Many other projection design
opportunities followed.
He joined the Hal Prince production team
of scenic designer Tony Walton and lighting
designer jean Rosenthal as projections designer for the original Broadway production of
A F/lIIIZ)' Tbing Happened on tbe WrzJ' to tbe
FOl'llJlJ. This was Pilbrow's first show in
America.

One of Pilbrow's often-told stories centers on a major difference he discovered between the habits of American and British
production staff. "It's an age-old tradition in
England that you are allowed to drink liquor in
the theatre. When I first came to America,' PHbrow remembers, "people were appalled at
the idea you would have a bottle of whisky in
the production desk. jeannie Rosenthal felt
sorry for me. On the first night of FOl'llJlJ, she
gave me a gift. When I opened the package it
appeared to be an American ham sandwich
with a bite taken out of it. I thought, what :m
odd gift. Looking more closely I reatized it was
made of plastic and had a screw top. That
sweet lady had given me a flask."
As Sir Laurence Olivier's lighting director
he designed many shows for the National Theatre Company including Blitbe Spirit (directed by Harold Pinter), Love's Labor's Lost,
and Tbe Tbree Sisters (designed with josef
Svoboda). Another favorite Pilbrow stOly describes his initial contact with Olivier. "lie
called me down to Chichester. The theatre
there was a horribly big thrust stage. Basically,
the electrical engineer had done the theatre

lighting. He had put spotlights all around the
perimeter like a sports arena. Anyone facing
onstage was a face in total silhouette. There
was no means of hanging lights over the stage
at all. The show was opening the next day. I
had to tell Olivier there was nothing I could do
because there was not enough time before
opening. I thought it was the end of my life in
the theatre." Pilbrow laughs as he continues
the story, "A year later, Olivier rang up and
Said, 'Tllis is janualY We open in june. Does
that give you enough bloody time?'" Tllis less
tlum auspicious beginning marked a relationship that has stretched over several decades
and included both design :md consulting
work.
Richard Pilbrow continued to work in
America and was the first British designer to
light on Broadway. The production was Zorba.
Many other shows followed including Sbelter,
111e Rotbcbilds, Tbe Life, :md Sbowboat. His
lighting for theatre and opera has since been
seen the worlel over.
One of Pilbrow's 1110st famous designs
was tlle lighting for Tom Stoppard's Rosencrantz
and Cui/dellstern are Dead. At the time PilT O&T

,I'

~I

~I

E

R

I

9

9

9

15



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1999

Contents
Theatre Design & Technology - Summer 1999 - 1
Theatre Design & Technology - Summer 1999 - 2
Theatre Design & Technology - Summer 1999 - 3
Theatre Design & Technology - Summer 1999 - Contents
Theatre Design & Technology - Summer 1999 - 5
Theatre Design & Technology - Summer 1999 - 6
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