Theatre Design & Technology - Winter 2001 - 56

better...artistically they can help us a great deal. If they can help the
play, then use them. In fact, if you're lighting a Broadway musical
nowadays and don't put any moving lights in the rig they might not take
you seriously as a designer. I use moving lights to replace specials. I
also save some space and gain more flexibility by placing color
changers on fixtures. All this technology has a cost-not simply in
rental fees. All these moving lights are hot and they need fans;
there are fans in virtually every one of the lights that make use of
advanced technology. If you put one moving light in a theater it's
fine. But if you put sixty Vari*Lites up in the air it sounds like a
Boeing 747. Sound designers get furious about all the fans because
it means that they'll have to make the show louder. When you make
a show louder it means you have to pick up the levels on the microphones. And what do you invariably end up
amplifying when you run the mikes hotter?
The fans! So, there are other factors to look
at, like is the noise factor something you can
live with?
RP: Moving lights are wonderful but are absolutely
not necessary unless you can afford them or
unless certain circumstances exist that make
them a good idea for that production. Noise is
a huge problem. Perhaps someday all lights
will be variations of moving fixtures or be
more fully automated.
BW: In terms of both large scale projects
and consulting, people are often asking for items that they either don't
need or can't afford. How do you address these concerns in your design
and consulting practices?
RP: Immie said earlier that one of his favorite
words was balance. I hold that very strongly
indeed and actually believe that the theatre
has one hope of going forward in the future-
it offers an experience unlike any other media. Theatre is all about meeting people. Live
theatre-be it dance, opera or drama-is all
about a live audience meeting live artists and
creativity making a thrilling, unique experience. As a consultant, I try to help the owner
and/or architect create spaces where this
magic can happen. For that magic to take
place the most important thing by far is to
place the audience in the right relationship to
the performers. Intimate theatre is what it's all
about. There's been a huge revolution in theatre design around the whole world in the last
twenty years. Twenty years ago everyone was
building fan-shaped auditoriums. Now, everyone is working with the concept that theaters
have got to be special and that the one thing
that makes them special is the relationship
between the audience and the actors. Most
theatre consulting work is rather mundane
regarding technology. Most projects can only

afford conventional technology and off-the-shelf light boards. And
you must put the lights in the right place. Even then some people
may want some weird things. There are still a lot of people who
think that a "black box theatre" is a good idea. I have to say that I
think that black box theaters are a deplorable idea. They're so
dreary-sort of this aberration of the sixties. Audience and actors
make theatre, not walls of blackness.
How do you find balance? The technicians will want far more
than their employers can afford and as consultants we have to find
a manner to give them the most bang for the buck. We work in a team
approach at Theatre Projects, using ex-production managers who
speak the language of the artists. You try within every detail to balance
the systems-lighting systems, sound systems, the rigging-you try to
find balance in all these conflicting things. Budget, architecture, all

Barbizon; b/w; new film;
drop rules

TD & T

W I N T E R

2 0 0 1

55



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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