Is the director the LD?

[taylors]

I am currently working on a design at a community theatre and the following is that the director wrote to me:

"Hi. I don't like the side lights. I don't like being able to see the light source. I think the light has to come from the front and overhead. Also, you need to spike the stage so the actors know where the specials are. Before rehearsal let's have the actors walk around the stage and give them a chance to find the light. Love you and what you do."
&
"If think there's a special UC behind the frame. And if there isn't there should be. Are you using the follow spot for the SR light on the chair? I think that needs a special. I'm not crazy about using that follow spot instead an instrument. It looks kind of sloppy."

Is this something that you could expect to hear from a director in professional theatre? I was a little blown away by most of the very forward things that they said. Side light is a very useful angle and it is inevitable that you will see the source of side light - unless the director gives me light-be-gone spray. Is it my job to spike specials? I understand that this is their opinion, but when does it get to the point that they are trying to tell me how to do my job? I guess most of my problem is that they were very forward and demanding. If you have any advice or input on this I would love to hear it. Thank you!

 

[taylors]

I am currently working on a lighting design at a community theatre and the following is that the director wrote to me:

"Hi. I don't like the side lights. I don't like being able to see the light source. I think the light has to come from the front and overhead. Also, you need to spike the stage so the actors know where the specials are. Before rehearsal let's have the actors walk around the stage and give them a chance to find the light. Love you and what you do."
&
"If think there's a special UC behind the frame. And if there isn't there should be. Are you using the follow spot for the SR light on the chair? I think that needs a special. I'm not crazy about using that follow spot instead an instrument. It looks kind of sloppy."

Is this something that you could expect to hear from a director in professional theatre? I was a little blown away by most of the very forward things that they said. Side light is a very useful angle and it is inevitable that you will see the source of side light - unless the director gives me light-be-gone spray. Is it my job to spike specials? I understand that this is their opinion, but when does it get to the point that they are trying to tell me how to do my job? I guess most of my problem is that they were very forward and demanding. If you have any advice or input on this I would love to hear it. Thank you!

 

[josh88]

That seems normal to me. Sure you're designing the light, but it's the director that really has final say on what they want it to look like. You couldn't design a set without talking and say this is what you get. It's all guided by what the director is going for.

Try to get the side light further I to the wings if you can, that will cut down on being able to see the instruments. I'd say the SM can spike the specials, but if it's a small theatre, go ahead and do it yourself.

 

[Les]

As a veteran of many, many Community Theatre shows, this is fairly typical of the genre. Especially in an environment where Lighting Designers sometimes have little training and experience outside of that particular building. The director is used to hand-feeding the designers, and many of the designers are used to that hand-feeding. I lit many shows under such circumstances. Occasionally, you get a really good director whom you respect, and other times you're pulling your hair out trying to make them happy and saying "I'm sorry, I can't make the cyc any bluer".

It was nice to see a little positive note in there to show that they're appreciative.

 

[microstar]

While the director always has the final say, he/she could have phrased their concerns in a slightly more collaborative fashion. "I'm not a big fan of seeing the light sources, so could you look into solving that problem about the sidelights". "It would be great if there was a special UC behind the frame." Could you please spike where you've provided the specials."

 

[gafftapegreenia]

Oh trust me, I've had shows as LD were I was basically just a board programmer trying to understand a vision.


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[MNicolai]

Forget how the director phrased their concerns. They're probably used to working under conditions where if they don't come up with the design, their lighting designer will disappoint them, so they've learned to cope by giving their lighting designers less rope by which to hang themselves.

This, my friend, is where real design begins. The director has presented to you a constraint. They don't want to see the light. Maybe they don't hate side light -- maybe they just can't stand having their eyes drawn to the light source and how that pulls them out of the action taking place on stage. Herein lies your opportunity to earn your keep. After all, you're not much of a designer if all you're there to do is execute on the ideas that the director would've had with or without you.

When they say "I don't like the side lights", all they're really telling you is that you've tried something in a way that doesn't seem cohesive with the rest of their process. They actually don't know how they feel about the side lights, other than that they're put off by being able to see them from the audience. You haven't sold them on the value of side lights. Side lights aren't for everything, so it's possible there isn't a way to sell them on this, but what you shouldn't do is submit to their concern without further conversation. After all, as a designer you must've put those lights there for a reason, and if they had a reason, you should be able to articulate that reason to the director in a way that convinces them on the purpose of those lights in the grand arrangement that is your design.

Maybe you can put half-hats or black-wrap onto the lights to make them less noticeable from the audience?
Maybe you can pull the lights further off-stage?
Maybe you adjust how the legs are trimmed to better mask the lighting booms?
Maybe you put black or painted scenic flats in to mask the booms?

To earn your keep as a designer, it's your responsibility...
1) to sell them on why you're lighting the show the way you are,
2) that your way is, in fact, the best way, to light the show, and
3) to work with them to come with a way to implement that on-stage that doesn't conflict with their goals for their production.

Just because they don't like how the side lighting is currently implemented doesn't mean that they side lighting isn't the best way to go. It just means that side lighting where they can see the side lights isn't doing it for them and they'd really prefer you do it any other way than in a way that they can see those lights.

_______

Excuse me while I hop on a soapbox here for a moment...

There are a lot of designers out there who, when asked why they did something someway, immediately agree to change it to any other way. This bothers me. It means they didn't have a reason for doing what they did. Certainly not enough of a reason that they could sell someone higher up the food chain on why they were doing it that way. It also promotes an idea that any level of design can be fit into any sized set of constraints. This simply isn't true. You can't fit a 500-lbs heavyweight design into a box that can only hold 50 pounds, but you especially shouldn't let someone unnecessarily constrain you to the 50-lbs box when they actually have a 250-lbs box and just don't realize how they can take full advantage of it.

 

[xander]

I'd say the only thing that they are asking for that is not actually their prerogative is the spiking of the stage. That is the stage manager's job. And really, they should be spiking the stage and you focusing the light on that, not the other way around. Everything else seems like constructive criticism, just worded very directly and maybe poorly.

 

[techieman33]

Specials should have been spiked by the SM or sometimes I've had a director walk around the stage with me and point out where they want specials and I'll spike them myself. Everything else is perfectly normal to hear from a director. If you don't like something they want done offer suggestions, and ask for clarification so your make sure your both on the same page. Ultimately it's the directors show though, so if they are adamant they don't want side light then you'll have to deal with that and work around it.

 

[BobHealey]

Oh trust me, I've had shows as LD were I was basically just a board programmer trying to understand a vision.


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I'm a community "LD" in name only. I am great with the nuts and volts, but suck at/hate having to come up with a design, so I love when directors hand me a vision to work off of. Show electrician is my preferred role, but LD is the slot I get because that's what goes in the playbill. I'm good at the figuring out how to light a scene a certain way, but am not so good at figuring out why I'd want to light it that way.

 

[BobHealey]

I'd say the only thing that they are asking for that is not actually their prerogative is the spiking of the stage. That is the stage manager's job. And really, they should be spiking the stage and you focusing the light on that, not the other way around. Everything else seems like constructive criticism, just worded very directly and maybe poorly.

Given its community theater, if the "stage manager" is what I'm used to seeing, they only spike what concerns them for set moves, everything else is spiked by the dept that cares about it. In my experience, "stage manager" is really "head of running crew", and doesn't show up until the set is done and its time to start working scene changes into the blocking.

 

[Les]

Given its community theater, if the "stage manager" is what I'm used to seeing, they only spike what concerns them for set moves, everything else is spiked by the dept that cares about it. In my experience, "stage manager" is really "head of running crew", and doesn't show up until the set is done and its time to start working scene changes into the blocking.

Yep, I've seen this. I was fortunate enough to work with SM's who were in it from start to finish, but they were generally more concerned about scene changes and things of that nature. If the SM was calling lighting cues, congrats, you've got an easy show .

 

[BobHealey]

Yep, I've seen this. I was fortunate enough to work with SM's who were in it from start to finish, but they were generally more concerned about scene changes and things of that nature. If the SM was calling lighting cues, congrats, you've got an easy show .

This particular theater actively discourages its stage managers from any involvement prior to tech week. Anyone used to a different way of doing things leaves after 1 show, never to return.

 

[taylors]

The director and I have worked around it and it was not an issue. I just had a problem with how forward the message was. Thank you all so much! Those were the things that I needed to hear. Because venting to your bestfriend who is an actor just doesn't help sometimes.

 

[ship]

The director and I have worked around it and it was not an issue. I just had a problem with how forward the message was. Thank you all so much! Those were the things that I needed to hear. Because venting to your bestfriend who is an actor just doesn't help sometimes.

Glad it worked out. Stick to your principals but as above in all ways well advised in staying professional about who ever your director is - it's your art as a part of his art general picture and wish I had the advice back when in also getting pissed off at times. That much less on one show a director directing the talent enough... At one point I had to go flood for a few specials because the "talent" could easily find his light and didn't like being in it, so he would every night re-block himself. Too new as a designer to otherwise find a solution and the director allowed the actor to do what he wanted in blocking at those important moments.

Remember what you designed and the changes you worked out. Into your mind's eye pocket book for future designing and the chance you now tried both solutions on future designs even if not in the exact situation. Always keep the being offended notes by the director on the pro' level on your half even if not expressed well. Who know's what the director's mood is when trying to orchestrate the entire show and your part of it his notes say you need work on. (Often a stage manager is note taker and special assistant to the director thus is also busy.) The director is much closer related to the actors as you are much closer related to the crew. Perhaps as LD if the stage manager is busy you supervise the placement of spike marks with the lighting crew for the director - you are in this director's place for doing so given you and the director have already worked out where the talent will be and what they are doing thus perhaps even better than the stage manager - assuming off in the wings and not seeing it, to spike a special. Not common practice but not a bad idea.

Blow off steam at CB as we all do at times, and you are correct it helps and stuff works out later.