Theatre Design & Technology - Spring 2017 - 41

seems spinning beyond any accountability. Remembering my theatre studies at the University of Michigan
immediately after the war, when ponderous multiganged resistance dimmers were the lighting control we
worked with-and going from there to the marvelous
artistic workability of a newly installed electronic lighting control system at Yale-was a measure of experience both bewildering and invigorating-in its way an
anomaly of theatre history. All old stuff now, with burgeoning new technology changing the world of theatre
lighting even as we meet here now, changing it vastly
beyond what was wondrously new when I began. With
such an enormous breach between the old and new systems of theatre production, I puzzle over what motivation can be found for looking back, when the future
is so fascinating. But now, while these earlier materials
are still available, is a time to decide what is of historic
significance to theatre lighting and worth saving, a time
to take effective action before present opportunities
dwindle away."
As we tackle these questions, we focus on ensuring
the originally catalogued items are accounted for, and if
they are not in the catalog we move to organize, tag, file,
study, learn their stories, and fill in one more piece of
that puzzle which is our history and our heritage.
In a file drawer, at the back of the plenum in the
Eisenhower auditorium, are some papers that Francis Reid donated to the collection, including some of
his work and also detailed information regarding the
development of the Glyndebourne Opera Company
lighting control system from 1961 to 1964-just one of
many pieces of information that tells the story of lighting technology history. The excitement at finding this
folder, the possibilities of what it might tell us, and the
thought that perhaps we could hear the story directly
from him, was shadowed by some news which followed
just hours later, that on June 10, 2016, Francis Reid had
passed away.
Why shall we preserve? The popularity of television
series such as Who Do You Think You Are? Finding Your
Roots, and History Detectives shows us that our history
and heritage is important to who we are as human beings. Knowing where we come from and learning from
our trials and our successes will drive us to create our
future history. At the recent USITT Conference in St.
Louis, during the Lighting Commission's second meeting, the Commissioner asked of the room, "How many
of you are interested in lighting history?" and more than
half of the attendees raised their hands. It is clear that
our history is important to the members of our Institute.
What shall we preserve? The pieces that tell the
stories of our history and heritage and the items that
trace the evolution of these pieces: fixtures, equipment,

pictures, correspondence, interviews, transcripts, theses,
research, lighting and production designs, drawings.
As manufacturers reach milestones, we often see special exhibits on trade show floors showcasing their key
developments, at the 50th anniversary conference for
USITT there was a lighting exhibit showcasing fixtures
and consoles, and when our colleagues leave us much
too soon, we honor them through their archived work.
Where shall we preserve? For physical objects such
as equipment or pieces too heavy to ship, it is best to
preserve them in place if possible. It keeps the artifact
in its original environment, and cuts down on the environmental impact if it doesn't need to be shipped somewhere. Humidity and air controlled environments are
also a necessity for longevity. If items need to be moved,
such as in a renovation situation, building a network of
archive locations across the country along with personnel who can assess and access those artifacts is a necessary and thoughtful step. If it cannot be preserved in
place and if it is prohibitive to be shipped, then collecting detailed and high quality photographs is preferred.
This presents challenges for working theatres however,
as building renovations must occur and our history may
be lost to dumpsters.
When shall we preserve? If the hands raised at this
year's conference are any indication, Francis Reid's answer 50 years ago rings ever loudly today: "Now. The
matter is urgent. With every passing day, another valuable fragment of lighting history is lost."
Andrea Bilkey is the vice-commissioner for lighting history
for the Lighting Commission and is also the head of design
and associate professor at Texas Tech University's School of
Theatre and Dance.
This article was made possible, in part, through a
fellowship grant from the USITT Grants & Fellowship
Program.

WORKS CITED

Allison, William. 5 June 2016. Interview with William Kenyon. State College, PA.
Allison, William. 1985. "The Penn State Archives of American Theatre Lighting
Including Century Lighting and Century Strand Control System Drawings; 19501970." Performing Arts Resources 10:40-48.
Reid, Francis. 1976. "Light Archives." TABS Stage Lighting International 34.1:2.
Reid, Francis. 1976. "The Lighting Archive at Pennsylvania State University." TABS
Stage Lighting International 34.1:7.

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