Theatre Design & Technology - Spring 2013 - 15

use of Vari-Lites in opera was even considered a bit revolutionary. There would be a symposium of lighting professionals the
next day to discuss the results. Game on!
The results were interesting, but curiously crude. A cyc lit with VL wash lights just didn't look very good, among other
things. And wow, those early Vari-Lites were noisy! Even though most of the failings of this production were forgiven, in subsequent re-mountings, new designers made use of automated lights where they made sense, but not every light was automated.
Today, automated lights are found in grand opera all over the world, but never to the exclusion of conventional lights. The
technology proved to be another useful tool in the toolbox, but not a universal solution to all lighting problems. Likewise on
Broadway, predictions of the demise of conventional lighting fixtures in the face of automated lights turned out to be wrong.
These examples suggest to me that the appearance of a new technology, even one with compelling features, simply does not
make it the right tool for every application.
Why then are people now saying, "We need to plan for all-LED lighting rigs." Wait, I haven't heard any theatre professionals say, "Change my contract. I can't light with old tungsten technology anymore!" But it feels like this boat is leaving the dock,
doesn't it? How come?
I may be a cynic (no, I am one), but one reason for this LED momentum is that the entertainment industry, as small as
it is, appears to be getting religion on the issue of energy efficiency. Previously, we claimed exemptions from energy legislation due to our tiny consumption and very low duty cycles. That made good sense. Now, we're singing a different tune as we
listen to the rumble of the dump trucks unloading money to pay for more energy-efficient equipment. Wow, you mean I can get
color-changing LED fixtures, and the power company will pay for them? You're right, I was wasting tons of energy, but now I'll
reform. I need LEDs.
Another reason everyone is talking about LEDs so much is that we have to plan for this technology or we'll get caught
short. At the moment, we're in the "zone of confusion" between tried-and-true old technology and new disruptive LED technology. And make no mistake, everyone is confused-manufacturers, lighting designers, building engineers, technicians-the

It's mighty hard to find anyone
saying, "Slow down, take a breath,
just use this technology where it
makes sense or makes the piece
better." Instead, we hear, "Build me
an all-LED theatre" or "Let's do an
all-LED show." But we also need to
ask "Why?" and "Does it make sense
for the piece?"
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whole universe of people that the technology touches. But I think this zone of confusion is a really important place for us to be
as we learn how to use the new technology to creative advantage. There's no need to rush headlong into using it where it just
doesn't make sense.
Unfortunately, there are forces pushing us to do just that! Manufacturers are introducing new LED products at a dizzying
pace, and consultants, wanting to position themselves as new technology experts, are specifying LED products. People are feeling left behind if they don't jump on board with both feet. There's money that needs to be made here!
In fact, sometimes just the appearance of a new technology creates an apparent demand for that technology and a false
sense of urgency. In my view, that's a classic case of tail wagging dog. It's mighty hard to find anyone saying, "Slow down, take
a breath, just use this technology where it makes sense or makes the piece better." Instead, we hear, "Build me an all-LED theatre" or "Let's do an all-LED show." But we also need to ask "Why?" and "Does it make sense for the piece?"
We may be on a technology-driven trajectory, but we're still at the beginning. Our current LED fixtures are bag-phones
with shoulder straps, but there are surely iPhones in our LED future. Of course, when they arrive, we'd better have adequately

s p r i n g 2013

theatre design

& technology

Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2013