Theatre Design & Technology - Spring 2013 - 16

planned for them in our buildings and learned how to use them effectively in our designs, but neither of these can happen
overnight. Perhaps I'm a neo-Luddite, but a calmer pace of adoption might be the way to go.
I don't know if this particular disruptive technology-LEDs-will make our lives better, our art better, or the theatregoing experience better. My crystal ball is broken on that. So, I'll segue into my own theatre-going experience.
I recently went to see the most technically sophisticated Broadway show ever produced. I got blown away by the flying
performers and the transformative automated scenery. No doubt part of my reaction was driven by some understanding of just
how hard and costly these feats were and how long they took to perfect. I simply could not believe what I was seeing.
Then my friends asked, "How did you like the show?" I found myself saying, "It was the most amazing piece of technology
I have ever seen-a technical tour de force! The book was terrible, the music sucked, and I didn't care about the characters.
But it didn't matter, because I sure liked the technology."
A while later, I came to my senses. I realized that the experience created no emotional connection between me and the
piece of theatre on stage. My reaction could have been the same while watching-live!-the on-orbit repair of the Hubble telescope. Sure, such fascinating feats of technology get my engineering juices flowing: but emotional connection? Nope.
And I guess emotional connection has defined the great theatre moments I've experienced in my life-those that have
stayed with me forever. When that connection is lacking, the experience fades quickly for me. On the other hand, pieces with
which I had strong emotional connections like A Chorus Line (the first Broadway show I worked on), Warhorse, Sunday in
the Park With George, and Once shared a common theme: the technology (if there was any) faded to the background and let
the piece and the actors drive the experience. In fact, sometimes the lack of technology connected the audience even more
tightly to the experience.
Great moments in theatre don't begin with a warehouse of new technology begging to be used-they start with telling
a story and telling it in the best way possible. That is something that only happens with a director and design team spending
hours talking about and deciding what the show is and what the audience experience is, including the use of technology. First,
there has to be an emotional human connection with the piece. Later, the decisions come about how to realize that human connection. Some of those will be technology decisions.
In all my favorite theatrical experiences mentioned earlier, technology was firmly cast as the tail-and never the dog. I
think we need to fight to keep it that way. v

14

theatre design

& technology

s p r i n g 2013



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

Contents
Theatre Design & Technology - Spring 2013 - 1
Theatre Design & Technology - Spring 2013 - 2
Theatre Design & Technology - Spring 2013 - 3
Theatre Design & Technology - Spring 2013 - Contents
Theatre Design & Technology - Spring 2013 - 5
Theatre Design & Technology - Spring 2013 - 6
Theatre Design & Technology - Spring 2013 - 7
Theatre Design & Technology - Spring 2013 - 8
Theatre Design & Technology - Spring 2013 - 9
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