How Long Does It Take To Set Up The Lighting For a Community Theatre Production?

How long do you allow your actors to do their script analysis, character analysis, line rehearsal, blocking and the myriad of tasks necessary to successfully present a production ????????? How long do you think it takes to set up the lighting for that production ? Does your lighting designer get a complete copy of the script with the lighting, sound, set and props notes included, the same time as your actors, or even earlier ? There is interaction between lighting, sound and props. Is your lighting designer included on the directors or SM's email and sms distribution list so they receive the rehearsal and production schedule and timely notification of any alterations or changes? How long does it take to set up the lighting for a community theatre production? Let us work backwards from the finshed product. Opening night - nothing for the lighting designer to do, lighting operator does pre show lamp check, runs show. Preview night - can be with a paying audience - the lighting designer may watch show to see what it looks like, seated in the audience, lighting operator does pre show lamp check, runs show. Full run - the lighting designer watches show to see what it looks like, seated in the audience, lighting operator does pre show lamp check, runs show. Opportunity for changes to the lighting to be tweeked in consultation with director. Full run - the lighting designer watches show to see what it looks like, seated in the audience, lighting operator does pre show lamp check, runs show. Opportunity for changes to the lighting to be tweeked in consultation with director. Full dress and tech rehearsal - this needs to be a technical rehearsal so lighting, sound, props, stage crew and actors ensure all cues and changes are practiced and timed as this is usually the first and last chance to do this. This may take longer than a normal rehearsal period and a script prompt is needed as it is a very disjointed time for actors cues. For large musicals, this may take two nights. Plotting night with director, sm and walkers - plotting is done with the lighting desk in the auditorium, house lights off, so stage lighting can be seen properly. (musicals and some plays usually need two nights plotting due to larger number of cues) Rigging and focussing night - can be done in conjunction with other disciplines if a good working relationship exists as blackouts are sometimes necessary. If your theatre does not maintain its lighting rig, keep a good stock of colour gels and the director has not informed you of all of the special requirements, this second and sometimes a third rigging and focussing night is necessay as you may find yourself having to repair lanterns, wait for replacement lamps to be obtained etc. Rigging and focussing night - it is taught in lighting courses to allow 30 minutes to rig and focus each lantern. With an ideal rig of 36 lantern for a typical box set with doors, windows and an external scene viewable through a window or door, that is an 18 hour requirement. With a large lighting crew, this can be done in one session. If you are using the same lighting design from the previous production without too many alterations, maybe just gel colour changes ad a few door location changes, this can be done in one sesion. Lighting designer and operator watch a full runthrough of the production to note blocking, work out timing of lighting cues and make sure lighying cues in lighting script are correct. There is usually alterations to lighting cues as lighting designer and operator can usually see where additional lighting cues that would enhance the production. If the lighting designer and operator have the time, they can watch an act 1 runthrough on one night and an act 2 runthrough on another night. They may see two runthroughs on each night. Ideally the blocking is set at this stage. Lighting designer and usually lighting operator in community theatre, do script analysis for lighting design and lighting cues. Paperwork from this session will be lighting plan, lighting cue list, dimmer patching list, lantern list, gel sheet cutting list. Production meeting with director, SM and all technical disciplines to discuss set design sound design, lighting design, props requirements, rehearsal schedule, production schedule, meeting schedule for follow up meetings if required. In community theatre these follow up meetings are often done on a rehearsal night before the actors arrive as these meetings are very short. Lighting designer receives full script and has discussion with director on production requirements, budget, approximate timings for production week. A lighting operator should be available at the start as this is where most lighting designers start their informal training in community theatre. Director seeks out lighting designer when choosing their next production to submit to a community theatre selection committee. This can usually be twelve months before a production is staged. 11 to 15 nights, even for a basic box set lights up, lights down production, if you want theatre lighting to achieve its purpose of providing mood, atmosphere, selective illumination of stage areas, good focussing with no dark areas for the actors to walk through, so the audiences attention is on the actors and what they are presenting. Community theatres need to have a maintenance plan in action to ensure their technical equipment is available when required, so it does not hold up the above proces.