Theatre Design & Technology - Summer 1999 - 27

ment of lighting fixtures and equipment. Although that book had a definitely British flavor,
it gained quite a world-wide following, including an edition printed in China.
Pilbrow's second book was Stage Lighting Design: The Art, The Craft, The Lifl!, published in 199 . 11 was nominated for the 1998
USIIT Golden Pen Award and won a 1998 Theatre Craft's lntemationa/ "Lighting Product
of the Year" Award. Pilbrow describes this
book as the fifth version of Stage Lighting. In
addition to offering a comprehensive overview
of the lighting design process, the book offers
several tables that give engineering data on a
number of fixtures and control boards. Perhaps the most significant additions are the interviews with working designers from the
worlds of theatre, opera, dance, industrial,
concert, and architectural lighting. The color
plates include shows lit by Pilbrow, Chris
Parry, Howell Binckley, Jim Moody, Tharon
Musser, Luc Lafortune and other internationally known designers. (An interesting coincidence is that both Moody and Pilbrow worked
as air traffic controllers at one time.)
The contents are e},1ensive. Pilbrow
drolly commented, "One of the best book reviews was on Amazon.com. They had taken it
from some magazine. The review said, 'lI's a
great book. And if you find yourself in an argument \vith a fellow technician, you can always
hit him with it. '"
Mr. Pilbrow has always been at the forefront of his field as a leader and as one who offers his service to others. Richard Pilbrow is a
founder and vice-president of the Association
of British Theatre Technicians. The decision to
fonn ABIT grew out of some chance meetings
\vith other lighting designers at an OISTAT
meeting in Berlin. Pilbrow said, "lI's hard to
inlagine how it used to be before there were
associations like ABIT, USIIT, and of course,
USA. There was not the same opportunity for
the exchange of ideas."
Pilbrow is also a founder and a past
president of the Society of Theatre Designers
and a founder and past president of the Association of Lighting Designers. He is a fellow of
the Royal Society of Arts, a vice-president of
the ational Youth Theatre, and a member of
the Council of the London Academy of Music
and Dranla. He holds union credentials as a
member of nited Scenic Artists Local #829
and the Associated Designers of Canada.
In 1982 Richard Pilbrow received the
USIIT Award for "his many years of contribution to the art of lighting, as a designer, author,

entrepreneur and consultant in both England
and America."
He was honored again by USIIT tlus last
spring at the Toronto conference, where he received the 1999 SlIT Award for Distinguished
Achievement in Lighting Design.
Conference-goers were delighted by
Pilbrow's generosity in sharing his time and
expertise. He and Ius associate Dawn Chiang
offered a Master Class where participants had
the opportunity to get to know Pilbrow's work
as a lighting designer and consultant. In tile
second half of this Professional Development
Workshop, Pilbrow gave a demonstration on
using WYSIWYG software in practical design
situations. Robert Bell of CAST Lighting, developer of WYSIWYG, Jim Waite from Vari-Lite,
Inc., and Doug Gentile, one of Pilbrow's favorite Vari*Lite operators were also a part of that
presentation.

Early Days
Richard Pilbrow's initial foray into the arts is
less auspicious than one nlight expect given
his achievements. Pilbrow was displeased with
the sanctioned drama society at his school so
he founded his own rival organization, The
Stables Theatre. Renovating an abandoned
barn into a thirty-seat theatre for his group
marked Pilbrow's entree into the world of tlleatre consulting, architecture and design.
In some ways school was not easy for Pilbrow. When he was sixteen the headmaster of
the school called in Pilbrow's father for a
meeting. Pilbrow laughs, "He told my fatller,
'Your son will never do anything. He's got a
mind like a butterfly. ,,,
Describing his early training Pilbrow
says, "I was never really taught anything. I
never went to college. Instead I went to a
drama school in England, the Central School of
Speech and Drama, as a stage manager. But, it
was a dreadfully bad course. I had done lighting. I used to light and direct all the school
plays and at the holidays, very sort of theatrical
events."
Pilbrow continued to dabble in the world
of tlleatre as he grew into adulthood. With his
first job as an assistant stage manager he becanle a part of the British professional theatre
scene. Butligllting was still a lure.
He says, "I had immensely good fortune
and went from drama school straight into a
long running West End show. And tlus had
been my life's anlbition; to succeed in it by age
twenty. And I found it incredibly boring, you
know, standing in the prop corner every day,

pressing the button. I mean it was worse than
an office job. You at least typed a different letter. I really wanted to be a director, to tell the
truth, probably still do. But in those days to be
a director you had to be called Peter and have
gone to university. Ligllting was sort of a nUillber two choice!"
At that time, the occupation of ligllting
designer did not exist in Great Britain. "I was
tlllImbing through a bookshelf one day and
pulled out the Lee Watson and Joel Rubin
book, Theatrical Lighting Practice. I opened
it and there was a lighting plot by Peggy Clark.
I thought, Oh Christ, they'll pay you to draw
lights! There's a profession called lighting designer! That's what I'll do."
While looking at the Peggy Clark plot Pilbrow realized she had used scaled symbols for
the lighting fixtures. He introduced the use of
true-to-scale lighting templates in London.
Once again, Richard Pilbrow had to make
his own opportunity. At that time in England
the director with the help of an electrician traditionally handled lighting. Pilbrow was concerned about how to make contact with
potential employers and how to convince them
to hire him to design their lighting. He decided
that his best bet was to open a rental shop and
offer his design services as part of a package
deal with the equipment.

Theatre Projects
In 1957 he borrowed 60 pounds from his father and bought some second hand lighting
equipment and Theatre Projects was born.
Theatre Projects began as a small rental company competing \vith the established companies like Strand Lighting (later to become
Rank Strand Lighting).
According to Pilbrow, "Basically I started
this company to rent 'stolen' or cheap lighting
equipment to people and give them my services for free. Then I realized I had to have a
way to keep people hiring me." Use of the
model theatre to show the planned ligllting for
the show was one of the early techniques for
selling the design work.
One of Pilbrow's favorite stories centers
on the early days of Theatre Projects. The first
office was in a tiny second story office in London. Pilbrow and his partner at the time, Brian
Kendall put an ad in The Stage, the British
eqUivalent of Variety. When the phone rang instead of being their first customer it was a financial representative of Strand Lighting. The
Strand rep made an appointment to come to
Theatre Projects' little office.
T'Z>&T

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25


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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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