As the lighting designer of SCAD's School of Film and Acting's spring mainstage production ("Pippin"), I have a lot of magic to do in the coming weeks.
So far, I have presented my lighting design concept to the director (Victor Malana Maog), collaborated with the set designer for lots of electrical set pieces (Erica Hemminger), and met with the choreographer (Margot de la Barre) and costume designer (Ryan Park). I have also been in communication with my friend and stage manager (Kamryn Neffle), as well as the production manager/technical director (Catori Swann), the production coordinator (Colleen Mond), and the music director (Kevin Wallace) about various needs.
At the moment, I am anxiously waiting for the final set package and rental inventory list. Once I receive those two important documents, I can begin drafting away to create the light plot -- a very exciting process.
This show is proving to be quite the spectacular. Originally, our budget seemed endless, as did that for the other departments (specifically set). However, the last two weeks saw countless cuts from all designers' wish lists, unfortunately decreasing the number of tricks we will be able to supply. However, this actually forces us to be more creative with what we have, a game that I prefer to play over the one where we can't decide which option to take.
At the production meeting this morning, though, it sounds as if I may receive this necessary documentation and information later today. As exciting as this is...it might mean my weekend will be stocked full with work. I'm very much looking forward to the amount of technology we will hopefully be using, though, including the brand-new ETC Eos Apex, an extremely high piece of technology that only exists in about 40 cases at the moment.
I will come back here to update on the process when the low points come to the surface...but if they don't, that means I'm having plenty of fun, but hopefully on the right track.
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