Theatre Design & Technology - Winter 2001 - 55

BW: How do you deal with all the stress related to a production-especially when things aren't going as planned?
RP: I remember the European tradition of allowing drinks at the design
table. In fact, I was deeply shocked when I came to the United
States in the early '60s and discovered that you weren't allowed to
drink in the theatre. One of my early successes was in my design of
a particular production table that we took with us wherever we lit
a show. Worked into the table's design was an actual cocktail
drawer that was there for the benefit of the director, design team
and our staffs.
KB: I like to keep candy on the production table. It tends to calm
everyone...or maybe we all get hyper together. If nothing else,
people can use it to project their tension. I lit a show at the Kennedy
Center several years ago which was a new musical on an out-oftown tryout. The show was failing miserably and everyone was at
each other's throats. At some point I sent one of my assistants out

Richard Pilbrow
Lighting Designer, Theatre Design Consultant, Author and
Producer.
Founded Theatre Projects in 1957. Theatre Projects Consultants
has been responsible for over 500 theatre design consulting
projects in fifty countries.
Several significant consulting projects include: the new Goodman,
Steppenwolf and Shakespeare theatres in Chicago and the
current renovation of New York's Lincoln Center.
Recent lighting credits include: On Raftery's Hill for the
Druid Theatre, Galway and the Royal Court Theatre,
London; The Life (Tony Award nomination) and
Hal Prince's Showboat in New York, London and U.S.
tours (Drama Desk Award, Outer Critics Circle Award 1995
and a 1994 Dora Award for Best Lighting Design).
Author of Stage Lighting in 1970 and Stage Lighting Design
in 1998.
54

W I N T E R

2 0 0 1

TD & T

Rehearsals are where the juices
flow and you create the world of
light around the performers. -RP
to buy vast amounts of candy for the tech table. Among the many
choices that the assistant brought back to the theatre were Gummy
Bears which the members of the production team used to channel
their frustrations-biting off the bears' heads as tensions
mounted. The candy budget for that particular show came to $750.
IF: When the pressure is on, you need to find something that will take
the pressure off. One such thing is in keeping a good sense of humor. If you work with people including your assistants and collaborators and none of them seem to have a sense of humor some
of your humor may rub off on them. If someone can say the right
phrase at the right time it can go a long way towards breaking the
anguish that may be hanging around a production.
RP: I like to think that I'm a little sea of smiling calm in the middle of
all this bull-shit that's going on. You've got to work fast and you've got
to be charming while you're doing it. In my opinion the director is
almost always emphatically right. You've got to persuade a director
to accept your point of view and if you don't-you've got to be able
to change it real quickly.
BW: Have you utilized automated lighting fixtures in
productions in a non-spectacle-like manner? If so, how
have you done so? If not, why not? What do you
consider to be the future for automated lighting?
KB: I use automated lights all the time-but you don't need to wiggle
them. The first time I used moving lights on a Broadway production I mounted six PanoSpots in a position that was to replace the
first electric. There was no room to hang an electric using conventional fixtures. I used them as specials throughout a considerable
portion of the show and nobody was aware that I was using them.
In fact, the producers thought that they were paying for something
that I wasn't using, so, I designed a cue into the curtain call where
I ballyhooed them in traditional moving light fashion.
RP: Moving lights also free a designer to make it up or ad lib to some
degree-you don't have to have everything worked out or preconceived to the most minute detail. I'm a great believer in making
a lot of changes while you're on stage at a rehearsal. There's nothing fixed about lighting except the curtain going up on opening
night and I love the ability to go with the actors and director...
letting the lighting grow out of the basics of what we all work out.
The bulk of the creativity really happens in that rehearsal period
where the actors actually take the stage. That's where the juices really flow and you create the world of light around the performers.
IF: Intelligent lighting needs to be used as a tool as opposed to letting it
run your lighting concept. When you do it that way there is a lot of
room for them and they can be a fantastic tool, without question.
KB: Moving lights are here to stay. They are things that can make our life



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
Theatre Design & Technology - Winter 2001 - 7
Theatre Design & Technology - Winter 2001 - 8
Theatre Design & Technology - Winter 2001 - 9
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