Theatre Design & Technology - Winter 2001 - 53

to studio work I shut them off. I also shut off all the floodlights and
used my theatrical training to light as best I could with just a few spotlights. Everyone used to say, "That kid's artistic!" In reality, I was creating drama and moods in the way I knew how, and I chose to ignore
what was known as the standard equipment of the studios.
RP: Ignorance can truly be bliss. I've spent a lot of time worrying about
how much better I was forty years ago when I didn't have any idea
about what I was doing. I worry about getting caught in the same
routine stuff. I also worry a great deal about the constant search
for more and more equipment. Are we getting too much "stuff?" I
love moving lights and I love all the technology but I worry about
whether we are finding the right balance in the use of technology.
KB: I was lighting designer for the 1976 revival of Fiddler on the Roof.
This production was a revival in the purest sense: the staging was
the same, the set was pulled out of storage, and I was hired to recreate the lighting that Jean Rosenthal had designed for the original production. I basically re-hung her plot, which was

Imero Fiorentino
Bolshoi Ballet: lighting designer for their first visit to the
United States.
Lit the first pictures sent to outer space and back to earth via TELSTAR.
Barbara Streisand: lighting designer for television special
in Central Park.
The Main Event-Frank Sinatra: lighting designer,
at Madison Square Garden.
Love at the Greek-Neil Diamond: lighting designer for
concert and television special.
Miliken Industrial Show: lighting designer for twenty years.
Consultant to every president, beginning with Dwight Eisenhower.
Consultant to fourteen national political conventions.
Led the lighting design team for the World Showcase Pavilions at
Epcot Center in Florida.
52

W I N T E R

2 0 0 1

TD & T

The principles of lighting design
are the same...the logistics of
different production areas are
frighteningly different. -RP
characterized by 750-watt Lekos for the front light, 300-watt X-rays
and 300-watt PAR56 fixtures for the back light. My cues were taken
from the original track sheets. The show looked beautiful. Six
years later, the show was brought out of moth balls again. Nothing
changed in this production either, so I used the original plot, and
once again it looked beautiful. Seven years later the show comes
around for a third revival. This time I thought I'd try something
different and incorporate some of the new, higher wattage axial
fixtures. I switched the front light to 1K axials, lamped the 300-watt
X-rays up to 500 watts and switched the PAR56 back lights to 500
watts. I also used a Mini-Light Pallet for control. When it came
time to cue the show I once again transferred the cues directly
from the track sheets into the board. When the first cue came up
in the theatre I couldn't believe what I saw. This looked beautiful
fifteen years ago...it looked beautiful eight years ago. I couldn't
understand why there was such a difference. I kept comparing the
cues in the board to the track sheets and they always checked out
correctly. Then I had an idea. I had the master electrician drop
everything on the board by thirty percent-if a channel originally
read full it would now read 70%-and once again the show
looked great. That whole production had to be relit but when it
moved to its second venue I swapped out the higher wattage fixtures and went right back to using the original plot and once again
the show looked beautiful. New technology doesn't always work.
The show hadn't changed conceptually so there really was no need
for the lighting to change either.
IF: Never forget the basics: the eyes don't change. Our eyes are the
same today as they were fifty years ago, a hundred years ago, or
five hundred years ago. How they see, how much they see or can't
see is still pretty much the same.
BW: Are there different approaches to lighting for different
forms of theatrical entertainment?
IF: Theatre is theatre whether opera, ballet or a play. I don't think that
there is a significant difference in your approach to lighting an
opera as compared to lighting a legitimate play. However, having
said that, I think that the exception is ballet. The reason being that
ballet reflects the most fluid staging of all these and lighting can be
characterized as a fluid tool. Any picture that you see in any given
moment could last for some time in a play while in a ballet it's
gone almost immediately as you undergo a transition into another
image. In ballet the picture never remains stationary for any real
period of time.
RP: The principles of lighting design are all the same in each of these
production areas. However, the logistics of each are frighteningly
different. Opera is large and tends to get thrown on to the stage.



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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