What Would You Have Done?

[Dkick]

So I was wondering if I could get a general opinion on if I did the right actions or not.

So I was doing lighting for the 2015 Mr. Wonderful pageant at my high school. At very beginning of the show all the boys (15) do a intro dance thats choreographed to a mix of music. So I was told to do lighting that went with the music. When I was finished programming we did a full run of the dance. For my first cue I originally had a soloet but the director said that she wanted face light in the first cue on them so went back and added it in, which was the only note that the director of the show gave me. My second cue was all blue with yellow spots coming from our two Mac 250’s which was about 10 seconds long, the next cue was just two spots from the movers on a tilting back and forward effect which lasted about two seconds then the next cue was just a strobe which lasted about one second, and after that all my other cues had face light in them. We ran the dance many other times throughout the rehearsals and was given nothing to change. When we ran it for a real audience I got to my 2nd cue (all blue) the auditorium manager started yelling at me to add more face light. My cues were not timed so I was faced with missing my cues and adding light which would of of also ruined the lighting for some of the cues by covering up some of the color stuff that I had in, or sticking with my cues and waiting about 7ish seconds for the cue that had face light in it. With having to make a quick decision I stuck with my cues and just waited. He soon leaned over me and just add the light himself. Now our auditorium guy does have a tendency to get angry really easy, and sadly right before the show started he had gotten a phone call from someone saying that one of his best friends had just passed away.
After all that a few days later I found out that he had kicked me off has lead lighting designer for our spring musical for my actions. Were my actions justified but not listening to someone who really had nothing to do with the production, who had also seen the lighting for the dance before and said that he liked it. He even told me that we were not going to change any of the cues when someone had requested a change of a cue the day of the show.

What do you think?

 

[josh88]

When you are a student and someone in authority above you tells you to do something you do it. Maybe you would have gotten flack from the director of the show afterwards for adding in more light, but that would have been his problem to deal with since he was the person who made the decision. After some time talk to the Director, explain what happened and ask if they would talk to him about it (since the director didn't have a problem with the choice). Also apologize for your mistake, don't try to justify it or try to say you were in the right, and hope for the best. Unfortunately in your scenario you're always subordinate to the adults in the room, and if on a whim they decide something needs changed, it needs changed. Take it as a learning experience.

 

[Amiers]

He has something to do with it, he bumped you from the spring musicals. You will learn that we are just the monkeys that press the button when told to do so. Failure to do so, well you get kick and replace with someone who will.

Also there is always one complainer in the crowd unfortunately, just nod your head and say ok.

 

[TheLightmaster]

Always have subs for quick emergencies.

But sorry man, that really blows. I too have had some harrowing experiences with irate higher ups. It is usually those who themselves are not organized, causing the very circumstances which cause you to upset them. What happened to you was totally uncalled for, as it does not seem like it was the TD's job to make last minute artistic additions to the show. You can either appeal to the director or producer of the spring musical, who should be the one choosing designers (who are responsible for executing the DIRECTOR's requests, not the TD's), or you can decide that you do not want to work with petty, easily angered, unprofessional people, and see the dismissal as a positive. I am currently dealing with a similar fiasco, it is a difficult to describe situation where people are assuming authority where they shouldn't, not having their illegitimate authority taken seriously, and then, when they have taken leadership positions on a future show, being troublesome when it comes to choosing designers. You gotta decide whether you want to stick around and see if people change their minds when tempers cool and things are explained, or just accept the cards you've been dealt and take your art elsewhere.

 

[StradivariusBone]

Is it possible his temperament and decision-making were compromised by the tragic news he'd just heard? I don't know of many people who would be able to maintain a 100% level head under that kind of a situation, but even still I operate under the mantra that it's never ok to yell at anyone nor be yelled at. You're pissed off at me? Ok, let's talk it out. I'm pissed off at you? I find a way to rationally and calmly go about fixing things. My #1 motto is don't panic and if he was yelling at you at the top of the show then he was panicking.

That all being said, the best you can do is give it time and try and have a calm meeting with them or take it as written and move on. That really sucks that his friend passed on, but part of this line of work is maintaining a clear head regardless of what else is going on. What if he was coordinating a flying routine or a pyro? His anger could cause someone to get hurt or killed. Those are the kind of people I wouldn't want to work for.

Good luck!

 

[LavaASU]

Is it possible his temperament and decision-making were compromised by the tragic news he'd just heard? I don't know of many people who would be able to maintain a 100% level head under that kind of a situation, but even still I operate under the mantra that it's never ok to yell at anyone nor be yelled at. You're pissed off at me? Ok, let's talk it out. I'm pissed off at you? I find a way to rationally and calmly go about fixing things. My #1 motto is don't panic and if he was yelling at you at the top of the show then he was panicking.

That all being said, the best you can do is give it time and try and have a calm meeting with them or take it as written and move on. That really sucks that his friend passed on, but part of this line of work is maintaining a clear head regardless of what else is going on. What if he was coordinating a flying routine or a pyro? His anger could cause someone to get hurt or killed. Those are the kind of people I wouldn't want to work for.

Good luck!

Wait so this all took place over 7 seconds? That seems a little uncalled for to be that upset over a student being confused and not doing something when we're talking about a few seconds. Now in a professional situation where there were plans and a clear chain of command I could see it...

 

[Edrick]

The auditorium manager is faculty right? Not just another student given that title?

 

[de27192]

Sadly working as an LD in any discipline is a constant mash up trying to make your own creativity mix with the wishes of the client. I say client - because you're being paid, so whoever is paying you - they're your client. We say "the client" more in corporate events, but it's a valid point in theatre, concerts, whatever.

You will often be told "do whatever you think will look good". This is usually a bit misleading, it really means "Make something I will like... because I don't know what that is".

Without going too artistic in a post, one thing to remember when dealing with almost *all* amateur level gigs - like school shows - is that face light is generally more important than a lot of your creativity. If the room is full of parents, they're more likely to be there to see their kids, than there to see the show per se. I have worked on shows far bigger where still, the director is happy to completely white wash the stage so that the audience can see everybody clearly, even at the expense of the rest of the lighting not having it's full effect.

Some people (and there is less wrong with this in big pro theatre, where we can tech it a cue at a time) programme the console using a single cue stack, each cue reflecting the state. So everything in the cue. If someone says "more face light" and it's not in the cue, you have to program it in and that can take time. So what I do on gigs like yours - where you know you'll have a pissy client in your face all through the show, is put things like front light on a separate fader, and follow it with your other hand. Or you can get a bit more clever, and set the relative level in the cue, and then use a group master to control the actual output.

There is a chain of command going on and basically as an LD you're always between the top and the bottom. You have to learn who you can safely ignore and who you can't. Just because you're the LD, it doesn't mean you can tell the director what he wants the lights to look like. If he wants to say "put everything in open white and at 100% and leave it there for the whole show" then you have to do that, and you can walk off the gig with your head held high that you fulfilled the director's wishes, and if somebody says "I thought your lighting design was a bit boring" you can say confidently that you provided the director with exactly what he wanted and got paid for the gig and that is basically the 2 things which matter most.

 

[Brandon Merkle]

Without knowing your experience level, and all of the background of the programming, etc., I can understand how that would have been tough for you. I have been in the position many times of not knowing quite enough about what I was doing to "busk" efficiently, which makes it very hard to make cue or look changes on the fly. Seven seconds is not a lot of time. As Lightmaster said, in the future make sure you have some emergency wash and face light standing by on submasters, and have the circuit spreadsheet or magic sheet close at hand, so you know what channels and addresses your various systems are on.

As to your current conundrum, and considering the extenuating circumstances, I would consider letting him cool down for a bit. Then after a week or so maybe write a draft of an e-mail calmly explaining your perspective on the situation, and ask him to consider working with you so that you both feel comfortable with what you are doing, and see if he will reconsider the spring show. Often a little diplomacy can help to strengthen that kind of student/director relationship.

 

[derekleffew]

There is a chain of command going on and basically as an LD you're always between the top and the bottom.

@de27192's post reminds me of

There are exactly FOUR hard and fast rules for lighting.
(In order of importance):

1. Don't burn down the venue.
2. Use light to make it possible to see the performers.
3. Satisfy the Producer/Director/Artist.
4. Satisfy yourself.

It's best to learn one's place on the food chain early. To use a cliche, "Art isn't easy."

 

[venuetech]

Things change, if the guy who knows just where the facelight sub is, happens to be standing there next to you and asks for facelight (i would call it front light, or foh). Then go with the flow, nudge the foh sub up a wee bit, smile and nod. You cannot write him off by saying "someone who really had nothing to do with the production" he is very much involved with the production.
review what has happened and then move forward, don't fuss about not being the LD on the next show. prove yourself a solid assistant LD

 

[artable]

My general opinion is: in any conflict between two parties, both are at fault (I can think of a couple exceptions, but of course, that's another story.). Your Auditorium manager is at fault, no question. There is no place for yelling or anger-speak during the run of a show. No violent tones allowed. Takes up too much time, and makes everybody preform worse. But if this AM's job is anything like that of an SM, well... You've gotta trust your SM to know the vision of the Director. Maybe there was a miscommunication between you and the director about the face light/foh, but the AM knew what the director wanted. Also, if this AM asks, or, in this case, commands you to make a change, and that change ends up being wrong, it's not your fault! The AM should take the blame for that. Of course, if this AM does not have a cue sheet in front of them w/ descriptions, then a little reminder of the light design may be appropriate.
In my opinion, that conversation should have gone like this:
AM: "Shouldn't there be more face light?"
You: "No, only for that first cue. It comes back in a couple cues though."
The AM must now make a choice, and either say: "hmmm. Okay. Thank you."
Or
"Well, I think we'd better add face light."
If that AM were me, I'd ask you to busk a x (probably 5, knowing me) second fade on my go. Just like calling reg'old cues.
Anyways.
Clearly, the AM did not start the discussion well. But, not saying anything to him/her was a mistake on your part. Maybe you could have briefly explained when the face light comes back in the design.

Edit: in my opinion, communication is perhaps the most important aspect of running a show. If you did not try to communicate to this AM why you were going to wait, and just ignored him completely... Well... That would be bad. The phrase "on standby" works well in this situation. In my theater, that's a signal for all communication via headset or otherwise to cease; a cue is coming up. No one is to make a sound unless someone died backstage. but simply remaining silent really isn't an option.

 

[MrsFooter]

As the House LD who often does lights for road shows, I've had this happen many a time, albeit always from someone with the road co. And I have had situations when I chose to say (very nicely,) "Sorry, the time for this discussion was during tech, not in the middle of the show, I'm sticking to what I have." However, certain truths had to exist for this to be the appropriate response for me:

1) I'm not a student. As the House LD, I have more authority and more freedom to veto commands if I deem it necessary. That said, I theoretically also have the freedom to get my ass fired if I piss off too many clients or become too difficult to work with. Part of being a professional is knowing when to push and when to roll.

2) It was a complete departure of concept or addition of large chunks of show communicated to me after the show had kicked. We're not talking bumping the face light here or a little more red there, we're talking house lights are at half and despite the fact that I talked through cues with the director during their tech period, some guy who calls himself their "technical guy" is now handing me a cue list 25 looks deep. If I can accommodate the request quickly and easily without completely rebuilding the look, it's easier to tweak than fight. (A reason those previously mentioned subs are VERY handy when you're doing shows with little to no rehearsal. I keep almost every system in my plot on a sub for quick fixes.)

3) This was a client who was in for a one-off that I didn't have to see the next day and has no influence over my job. This is a judgement call that you learn to make only with time, and it's a risky one that has the potential for grave consequences if you judge wrong. People have amazing memories for people with whom they've had disagreements, they will remember you when they walk in the door next time, and it will not start your day off on a good foot. Have I found myself in situations where I felt that my only viable option left was to rise up righteous and tell the guy in the middle of the show that, "If you don't like the way I light then maybe you should hire your own LD next time,"? Sure. But that should never be your 1st, 3rd, or 45th option. It should be the option after your last, and only if you're very confident that it can't come back to bite you.

In your particular situation, none of these truths existed. You were a student being asked to make a small change by someone who is your direct superior. (I'm assuming.) The fact that he was able to reach over you and make the change himself says that this was not a technically difficult task, just a matter of artistic integrity. And I understand wanting to protect that. It sucks hard to have to sit behind the console and stare at a stage that looks like crap because your design got walked all over. I know, and I hurt for you. But you have to decide when your artistic integrity is worth fighting for, and when it's just not. Do you really want to risk your job for a pageant? Will knowing that those couple of minutes in a dance routine looked amazing bring you peace when you're watching someone else do your job? It sounds like you're realizing after the fact that this is an instance when it wasn't worth fighting for.

Was that a dick move your manager pulled? Absolutely. It's never okay to treat your crew like that, grieving or not. Were you justified? It doesn't matter. You acted, and now there are consequences. Welcome to the real world, enjoy your stay.

 

[Pie4Weebl]

If you want to do the spring musical, go to him and apologize for not doing what he told you to do, and tell him it won't happen again.

Ask yourself if it is worth eating your pride to get the gig you want, and if it is, go ahead and eat your pride.

 

[artable]

If you want to do the spring musical, go to him and apologize for not doing what he told you to do, and tell him it won't happen again.

Ask yourself if it is worth eating your pride to get the gig you want, and if it is, go ahead and eat your pride.

If you get lucky, he might even realize/have realized that he wronged you.

 

[JohnA]

I have unfortunately faced a similar situation involving myself and a new middle school principal. The only difference here is that I am adult "volunteer", and had been doing the shows in that school for 10 years prior to his arrival. Not unlike your AM, this guy was a micromanager and control freak. He "banned me". I tried to set up a meeting and was simply told "no thank you". So I looked around, found a small theater that needed a light guy, and started working there. Every time a group came in to do a show, I would ask "do you know of any schools in your area that need a lighting designer/tech?"

About six months later, we had a group in to do a one-off. The sound guy (supplied by the group) was so impressed, and asked where else I worked. I told him of my search, and sure enough, he knew of a director at a school very near to me that needed an LD.

One day later that director sent me a note, offering me the position--not even having a formal interview. That was three years ago. If that principal that had not forced me to look around, I would never have ended up in this position at a top rated school on the "Main Line" in the Philly burbs.

If your guy is easily angered, think long and hard--do you want to have the threat of another confrontation? That being said, I do agree with the other responders that as a student, you must follow the orders of a faculty member, even to the detriment of your design.

Best of luck, and don't let this discourage you ONE BIT!

 

[gafftaper]

I am on of those high school theater managers. The correct response was at the moment he first told you to add front light was, "This is what is what I programmed and they liked in rehearsal. There will be more front light added in a few seconds. Do you want to add more now or wait for that cue? " Recognize his authority and give him all the information he needs to make the decision.

For all he knew the whole dance number was missing front light.

Go to him, apologize for not jumping right on it and explain why... WITHOUT GETTING DEFENSIVE. Explain that you didn't mean to ignore him, you were just seconds away from a cue that did what he was asking. Tell him that you didn't mean for this to get personal and that you really hope to do lighting again in the future.

Be calm, respectful, and factual about what happened. If you get upset and argumentative your chance to solve this is gone.

 

[MikeJ]

Keep in mind that you are likely, not working with professionals, but you are not one either. By that I mean that your instructors emphasis is in teaching, not running a theater company. Their job duties are much more complex than directing a show and only working with professionals; working with students is a whole other ball game. They may do things differently than you would expect at a road house, or a Broadway theater. In the real world, when the doors open on the first show, the directors job is done, and the auditorium manager has no authority to make artistic changes to the show.

High schools however, may not run like a professional theater, employees may wear many hats, and they may even share them, and hand them off to each other. Even though you added the light in the place discussed, its very possible that the director was doing many other things, and did not carefully reconsider the new look, and moved on to one of many other tasks. Sometimes people forget about changes.

You did not add the light when asked? You explained that you would miss you next cues if you made the last second change. This is reasonable. Explain that to the director, and tell them next time you will make some extra handles for small changes, if such a thing should be needed. You were not just ignoring the guy, you were just worried you would make things worse by fixing another. You are just a student, take it as a learning experience and be humble.

Personally, I don't want an apology(its a waste of my time). I want an explanation; not an excuse. If you tell me a logical reason, than okay. Take a note, and in the future we can work around potential problems easier. Other people are very emotional and touchy-feely; If you want to continue working with these types of people, than you may have have to go on for several minutes about how you are sorry, and then explain your feelings, and then show empathy for their feelings, and then hug it out. On second thought, skip the hugging; it's probably inappropriate for a high school.

From a "professional" standpoint, much of what you learn in High school will turn out to be "wrong".
Then you get to college and relearn everything.
Then you get your first few jobs, and realize what you relearned in college was also "wrong".
Throughout your career you will relearn many things many times.

School does not teach you things; it teaches you how to learn.

 

[TimmyP1955]

Is the director an employee of the hall, or of a production company that is renting the hall?

If the former, the manager may have say-so over what you do - talk to the director.

If the latter, the manager has no say-so at all, so long as you are not abusing the equipment.

 

[Buttmonkey]

So I was wondering if I could get a general opinion on if I did the right actions or not.

So I was doing lighting for the 2015 Mr. Wonderful pageant at my high school. At very beginning of the show all the boys (15) do a intro dance thats choreographed to a mix of music. So I was told to do lighting that went with the music. When I was finished programming we did a full run of the dance. For my first cue I originally had a soloet but the director said that she wanted face light in the first cue on them so went back and added it in, which was the only note that the director of the show gave me. My second cue was all blue with yellow spots coming from our two Mac 250’s which was about 10 seconds long, the next cue was just two spots from the movers on a tilting back and forward effect which lasted about two seconds then the next cue was just a strobe which lasted about one second, and after that all my other cues had face light in them. We ran the dance many other times throughout the rehearsals and was given nothing to change. When we ran it for a real audience I got to my 2nd cue (all blue) the auditorium manager started yelling at me to add more face light. My cues were not timed so I was faced with missing my cues and adding light which would of of also ruined the lighting for some of the cues by covering up some of the color stuff that I had in, or sticking with my cues and waiting about 7ish seconds for the cue that had face light in it. With having to make a quick decision I stuck with my cues and just waited. He soon leaned over me and just add the light himself. Now our auditorium guy does have a tendency to get angry really easy, and sadly right before the show started he had gotten a phone call from someone saying that one of his best friends had just passed away.
After all that a few days later I found out that he had kicked me off has lead lighting designer for our spring musical for my actions. Were my actions justified but not listening to someone who really had nothing to do with the production, who had also seen the lighting for the dance before and said that he liked it. He even told me that we were not going to change any of the cues when someone had requested a change of a cue the day of the show.

What do you think?

You were in the right dude, a saying my boss says a lot is never let the crew run the ship, they dont know how to yet. This kind of thing happens a lot and idk how heated things got or the relationship you had with your superiors but you shouldnt of been kicked off, you were doing your job. Someone who knows nothing about lighting and stuff shouldnt be completely in charge.