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The Basics of Good Stage Lighting Design

Andrew Koch — Tue, 04 Jun 2024 12:52:08 +0000

The spotlight is one of the most iconic symbols of the performing arts, and just one of many tools at the lighting designer’s disposal. In this article, we’ll introduce some principles of lighting design and the ways they can enhance your production. How you achieve these effects will depend on your troupe’s experience level and access to lights and tech, but these basics will help you understand the “what” and “why” of lighting design.

What is stage lighting design?

Lighting design is a kind of blueprint for the show’s light fixtures. Just like a script tells actors what to say and choreography tells dancers how and when to move, lighting design informs your technicians how a scene will be lit.

Through cues, technicians mark how and when different lights will go on and off. Cues often hit at the beginning and end of a scene but could also occur when a character enters or leaves the stage, a musical number begins, or the main action shifts from one part of the stage to another.

What makes for good stage lighting?

At a basic level, your lighting should make it easy for the audience to see what the director wants them to see, and when done well, it is both practical and creative. A blog post by Illuminated Integration, an effects consulting group, highlights four roles lighting design plays:

Illuminating the stage: Allow the audience to see the actors, set, and props so they can understand the action on stage. For safety reasons, it also allows performers to see each other and their surroundings.
Highlighting different areas: Draw the audience’s attention to a particular character, action or sub-scene, or pan from one part of the stage to another.

Setting the scene: Enhance the setting to reflect the place and time a scene is depicting. Perhaps wavy blue lights to suggest an undersea environment, or a flickering streetlamp for a seedy alley. Also consider time of day: Is it evening or morning? Can the lighting help indicate that time has passed—a sunrise, or sunset?
Controlling the mood: Hint at the character’s emotional state or provide a suggestion for how the audience might be feeling. Warm, cozy light might convey happiness, but harsh strobe lights indicate danger or excitement.

In the first video of a webinar series all about lighting design, Electronic Theatre Controls (or ETC, a manufacturer of lighting equipment) adds a fifth role: composition. Theatre is an art form. Like other visual arts, lighting designers can use the tools available to them—texture, lines, colors, shapes and so on—to aesthetically frame a picture of the action on stage.

And, like other parts of a production, effective lighting design supports the wider show’s creative vision. Make sure you stay in contact with your director and consider how lighting will affect other aspects of the show: blocking, choreography, sets, sound, and costumes.

Tools of lighting design

The specific kinds of lights and the technology you use to schedule and deploy cues will vary by troupe. But these are some of the creative levers you’ll have available to you as you put together a light design:

Intensity: Bright lights are more revealing than dim ones and can help convey a tone.
Color: Many colors are associated with emotions—red for anger or passion, blue for sadness, and so on. Also consider how colors will interact with sets and costumes, and how they can enhance the setting (e.g., a warm orange glow to suggest a sunset).
Movement: How do you transition from one lighting scheme to another? Is the light static, or does it flash or come on/off at meaningful times? Does the light need to move to follow a character or some action?
Distribution: Does the light come from one source, or many? Is it directly above the stage, or at an angle? How focused is it?
Shadow: Consider where light won’t be. Is a character half in shadow because they’re withholding information or can’t be trusted? Can you use shadows to create texture?

ETC has a helpful guide to many of these elements. And you can read how one student lighting technician approached her role.

Example: The Phantom’s Reveal

Note that good lighting design doesn’t necessarily show everything on stage. Indeed, there may be times in which you want a certain character or action to be in shadow. Consider the filmed production of Phantom of the Opera at Royal Albert Hall.

During “All I Ask of You,” Raoul and Christine sing of their love for each other in conventional lighting. As they exit the stage, the Phantom appears from behind the proscenium arch, lit overhead by a bright light. Unbeknownst to the lovers—and the audience—he watched the whole scene from the shadows.

The lighting choice is both functional and thematic:

Functional: The change in lighting draws the audience’s attention to this unusual part of the stage, helping reveal the Phantom’s presence.
Thematic: The lighting is eerie, unexpected, and unsettling. And the audience sees the Phantom as he sees himself—brutal, mysterious, and bitterly alone.

Good lighting design requires thoughtful consideration of how to best use the properties of light to help the show. And it requires practice—get started!

Andrew Koch is a writer and editor from Cincinnati. He volunteered to hang stage lights in a community production of Joseph and the Amazing Technicolor Dreamcoat.

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Set Strike 101

Andrew Koch — Tue, 19 Mar 2024 16:35:18 +0000

The curtains may have closed, but your work isn’t finished! The last step for most theatre productions is the set strike, where everything from the show comes down. While your theatre teacher or director will help guide you, if this is your first strike, you may have plenty of questions. Here’s what you need to know.

What is a Set Strike?

After the final performance, oftentimes the cast and crew come together to pack up everything that was created for the production. At strike, you’ll essentially return the theater to how it was before the show. This leaves a blank slate for other groups using the space, including your troupe.

According to the American Association of Community Theatre, the word “strike” has been used by theatre groups for at least 100 years. Sailors from as early as the 1300s used “strike” to mean “lower a mast or sail,” usually when preparing to drop the anchor (such as at the end of a journey).

Set strike generally takes place immediately after the final performance, but (depending on the venue and other factors, such as school schedules) it may be held a couple of days later.

What Will I Do at Strike?

Your theatre teacher will assign tasks to make sure everyone’s time is being used efficiently. A “strike plan” collects their notes in an organized document that might be shared with cast and crew before strike day. The crew will likely work in their respective departments, with cast members assigned tasks where needed.

During strike, you might:

Deconstruct set pieces.
Determine what set pieces, props, and/or costumes will be kept.
Move items into storage.
Take down lighting and sound equipment and return them to their rightful places.
Remove posters, banners, and other promotional materials.
Recycle any leftover programs, tickets, and so on.
Tidy up and sweep/vacuum the wings, green room, and any other common area (possibly including the theater’s lobby and house).
Return borrowed costume pieces.
Collect scripts/librettos to be returned to the licensing agency.

Safety is paramount! Listen carefully to instructions and be aware of your surroundings – especially around power tools, ladders, and sharp objects like loose nails and screws. Not to worry though, you’ll always have an adult nearby if you have any questions or concerns.

What Will I Need for Strike?

Because you’ll be moving around quite a bit (and likely on the ground), you’ll want to wear closed-toe shoes and comfortable clothes that you don’t mind getting dirty. Depending on the job you’ve been assigned, you’ll be provided tools (screwdrivers, drills and bits, etc.), work gloves, sewing essentials, or trash bags.

Also, be sure to bring some refreshments to stay energized and hydrated, although this will likely be coordinated by the teachers.

You’ll also need to bring any materials that you rented from the licensing company, including scripts and scores. Follow your director’s instructions on erasing any marks you’ve made from them—licensing companies may have rules about this.

What Will the Theatre Department Keep?

Your director, producer, or technical director likely has ideas about what materials should be saved for future productions and what can be discarded.

Items designed specifically for a show (say, a bejeweled handheld magic mirror from Beauty and the Beast) probably can’t be used in other shows. But they might be saved and loaned out if a nearby troupe will also be putting on that show soon.

Here are some factors your company’s decision-makers might consider:

What shows your troupe will be doing next, if known.
Other uses: Basic items like stairs, platforms, or simple furniture can easily be adapted for other shows.
The item’s condition: No need to save splintered wood, costume pieces that have holes (although your costume shop will likely want to make repairs), or paint splotches.
How difficult the item was to find or make.
How much storage space you have (and how tricky a piece is to store safely).
Your troupe’s typical budget: some troupes keep each and every screw for reuse in future productions as a way to cut costs.

The troupe will also obviously need to return anything that was borrowed from cast/crew members, costume shops, or other theatre groups.

Should I Expect to Attend Strike Even if I’m Not on Crew?

Yes! In school and community productions, strike is usually an “all call” for everyone involved: cast, crew, and directorial staff.

Even if attendance isn’t mandatory, you should help your cast and crew mates. It’s very rare that a theatre teacher will pass up unsolicited support. In addition to being the right thing to do, your enthusiastic participation will leave a lasting good impression if you want to work with the troupe again.

Plus, this will likely be your last opportunity to see most of the cast and crew in the same place. Over the course of a production, cast and crew can become a kind of family. Cherish the remaining time you have with each other.

Theatre is a team sport. Roll up your sleeves, grab a hammer or drill, and pitch in!

Andrew Koch is a writer and editor from Cincinnati.

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Composing a Career in Sound Design

Natalie Clare — Tue, 12 Mar 2024 12:53:16 +0000

Many theatre artists can recall when they “caught the theatre bug.” That moment when you realize how much you love the art form and how comfortably you fit into theatrical spaces. And then the moment that follows it, when you realize you want to create a career path out of it.

Matthew M. Nielson started his theatrical career in a rather serendipitous way. He was working at Round House Theatre in Bethesda, Md., shortly after studying music and theatre at Montgomery College. He built scenery by day and worked on the run crew by night. And then one day, “they plopped me behind the soundboard, and something just clicked,” he says. “It all made sense to me without ever having really done anything with sound before. It was just instinctual, you know?”

Today, Nielson is an award-winning sound designer, composer, and audio producer. He works on stages across the country and abroad, at regional theaters and off-Broadway. He also works in film and television, on web-based projects, and in audio theatre and podcasts. He owns Curious Music Company, a production music company and music library, and he’s a resident artist with Round House.

He chatted with Dramatics to learn more about his career path and the tips he has for Thespians looking to make a career in sound design.

A Music Kid in D.C.

Growing up, Nielson was “a music kid,” as he calls it. His father was in barbershop quartets, and Nielson sang in the choir and chorus for several years. He recalls his first theatrical experience early on, and in some ways, it foreshadowed his career.

“My actual first experience with theatre was in fifth grade where my school did a very shortened version of The Taming of the Shrew,” Nielson says. “We were in D.C., and we got to perform a section of it at a festival at the Folger Theatre. I never realized the significance of that until I actually started working at the Folger Theatre.”

The Folger Theatre at Folger Shakespeare Library is one of several reputable theatres in Washington, D.C. and the surrounding region. Outside of New York City, D.C. is well regarded for its performing arts scene. It’s widely considered a top theatre city in the U.S., and it’s where Nielson developed his skills in sound and audio. After having been “plopped behind the soundboard” for a show at Round House, the direction of his theatrical career came into focus. The production was called Three Days of Rain.

“Honestly, I can’t remember a whole lot about what the show is about. But I just remember the designer picked some very lovely music for it, and the whole second act, it was supposed to be raining outside,” Nielson says, adding that what clicked with him was “just learning good ways to do rain.”

Nielson then became the in-house audio master for Round House and worked at such reputable theaters as Wolf Trap in Virginia and the Public Theater in New York. He eventually broke into sound design — also at Round House — and began working as a freelancer for theaters around the country and abroad, which he continues today.

It’s All in the Details

When he’s composing and designing sound for a scene, there’s far more intricate focus than folks may realize. A straightforward scene in which two characters are talking in can be filled with sound even if there’s only dialogue, a realization he learned while composing film.

Typically, Nielson says, while scoring a film scene, a sound designer will strip away the ambient audio, so we only hear the dialogue of the actors speaking as picked up by the microphones. Then, they’ll add back sound effects to create the ambience which gives the scene a more natural feel while elevating the sound of the dialogue. After working in film, Nielson returned to theatre with a newfound approach.

He explains, “I started to miss hearing that ambiance. So I would do just a tiny bit of audio, like traffic outside, and then add room tone inside. Is there A/C? Is there heat? Is the door we hear in the kitchen? Do we hear the fridge? Just tiny, tiny little things like that.”

Nielson has amassed an extensive library of sound effects over the years, organized into a digital database he can readily search and “audition” an effect while working on a project. If he doesn’t have the right audio file, he puts his creativity to work and records his own — and that’s often where the fun comes in.

Nielson recalls a commercial project that he worked on for Delivery.com. The main character in the narrative is frantically knitting a sweater throughout the commercial. Nielson realized he didn’t have the right sound effects to emphasize the sound of the knitting needles, so he purchased three kinds from Amazon — plastic, wooden, and metal — and “auditioned” each of them.

“I would play the commercial in my digital audio workstation where I can watch and record at the same time. So I would have my knitting needles up to the microphone, and watch, trying it with all three kinds of needles,” Nielson explains.

Years later, Nielson picked up the knitting needles again while working as sound designer on a production at Cincinnati Playhouse in the Park. The show, Summerland, was about a spirit photographer in the 19th century who claimed to take photos of the dead. Throughout the story, characters hear tapping sounds from another room (or perhaps another realm), adding to the mystery of whether the photographer could truly capture ghosts on camera.

“I was trying to get just the tapping sound that I was looking for. So I’m at my house, tapping on the coffee table with a glass surface, tapping on the kitchen table, the fridge,” Nielson explains. “I ended up using those knitting needles just to do the click, click, click, click, click, and then I would put all kinds of crazy effects on it so it would sound like these clicks were happening all over the room.”

3 Tips for a Career in Sound Design

Nielson has forged an award-winning career in sound design and composition that has spanned two decades. Here are his pearls of wisdom for students seeking a place in the sound arena of theatre:

1. “If you want to be a freelance theatre artist, you have to be adaptable.”

Nielson says when the pandemic hit in 2020, he was contracted for eight productions that were all canceled. He quickly had to pivot and utilize the knowledge and experience he gained while working in film and television so he could work on audio and sound design for web-based projects during quarantine.

2. “Really learn what it means to collaborate with your fellow artists. Be open to what’s happening around you and be available to listen and respond creatively.”

Nielson encourages rising theatre artists to take the time and initiative to understand what their collaborators actually do. What does it mean to be a lighting designer, a costume designer, an actor? He says it’s important to understand what each person goes through on stage, off stage, and behind the scenes.

Equally important is not getting caught in creative silos, and collaboration prevents that from happening. “It took a couple of years and some really persistent other designers — who are now some of my favorite collaborators — to make me realize that I had a voice in the room and that other people wanted to hear it and that it could actually be part of shaping the world [on stage],” he says.

3. “Be honest. And this is less about lying to other people as it is being honest to yourself.”

He says this is especially important if you want to be a freelance artist in theatre. He cautions against overbooking yourself and stretching yourself too thin. It’s possible to keep reaching for goals while still understanding your limitations. Lastly, it’s okay to ask for help from friends, colleagues, and theatre companies.

You can learn more about Nielson and his creative work at matthewnielson.com and curiousmusic.com.

Natalie Clare is a regular contributor to Dramatics, a freelance arts and culture reporter in Cincinnati, and an arts and education marketer. She has a handsome husband, an adorable baby boy, a mischievous cat, and far too many plants.

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3 Tips to Improve Your Theatre Design Skills

Dylan Malloy — Tue, 20 Feb 2024 16:32:01 +0000

You’re preparing to design your first production! Any form of theatre design – scenic, light, sound, prop, makeup, or costume – requires a close read of the script. Here’s how to study a script so that your design highlights the story happening onstage.

1. Take Note of the Basics

Before you start designing, take time to understand the basic elements of a piece. For example, if you’re doing scenic design, the playwright might indicate there are multiple doors characters walk through. If you’re doing lighting design, the playwright might want a specific-colored light in a certain scene.

The earlier you note these specifications, the less chance there is for surprises halfway through the rehearsal process. Playing catch-up in the final weeks before opening night is stressful and often expensive. Some elements to look for:

Time Period & Setting: Creating a collage or vision board full of pictures from this time/place will give you an idea of the colors and textures of the world you are creating. If the play is a period piece, you may find it helpful to talk to a history teacher about what life was like in that period so you can hear even more perspectives.
Language: The playwright’s language can give you a deeper sense of the story world. Is the language poetic and lyrical, gritty and rough, or somewhere in between? If the play is experimental and less tied to reality, you will have some additional freedom in your design choices, so long as the choices you make are directly related to the story. Ultimately, an experimental comedy will likely not look the same onstage as a realistic tragedy.
Tone: Paying attention to tone is also important so your choices amplify the emotions of the story. A more optimistic, comedic tone can possibly result in brighter lighting colors, more vivid makeup, and wackier sound effects than you would use if designing for a more grounded, realistic play. You want your design choices to make the story come alive, not feel like a distraction.

Once you have a list of the basic elements in the script, you have the foundations of your design plan.

2. Study the Characters

Next, take note of each character and personality traits you associate with them (happy, sneaky, angry, kind, proud, etc.). The designs you create can subtly tie back to the personality traits the playwright explores in the script.

Say you have a character that is enthusiastic and encouraging. This character could wear yellow (a happy color), the lights could become slightly brighter when they enter the room, or they could wear makeup that emphasizes their smile. Each character changes over the course of the show, and your design choices can reflect this change to make it more poignant for the audience. For example, this enthusiastic character might become discouraged over the course of the story and start wearing bleak, bland colors. Whether the play ends hopefully or tragically (or something in between), the design should emphasize the journey of emotions being felt.

Similarly, large-cast shows may divide characters into groups, for example, different families or social classes. Take note of these groups. If these differences are important to the meaning of the story, you can use your design skills to emphasize them. For example, characters in different social classes can wear different colors or carry unique props. No matter what you notice as you read the script, if you ground your design in the characters and the arcs they follow, your design will feel cohesive with the story.

3. Discuss with the Director

Before you get to work and start designing, you’ll want to sit down with the director and share ideas. The director has also been intensively studying the script, and they might have thoughts about certain design elements. In the rehearsal room, part of the director’s job is to guide the actors towards a deeper understanding of the characters, so they’ll be especially attentive to the tone and arc of the story. Bring pictures, sketches, collages, or digital models to the conversation to share your ideas.

During your conversation, there might be some differences of opinion. Be sure to let your director know if you feel certain design choices they want are unachievable, whether it’s due to your budget, the amount of time you have, or your ability/knowledge. Being honest at the start of the process can prevent challenges down the line, and coming up with alternative ideas reminds your director that you’re a flexible team player.

No matter what, you’re now an expert on this script and have a multitude of excellent ideas to make the story world come to life!

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How to Build Your Costume Plan

Andrew Koch — Thu, 25 Jan 2024 13:46:33 +0000

Costumes can make or break the audience’s ability to believe a show – and a costume plan can make or break the costuming process. If you’re leading your show’s costume team, begin with a plan to help you stay organized before, during, and after the production.

Benefits of a Costume Plan

A costume plan (or costume plot) helps you track all the pieces in your show, from large dresses to incidentals like hats and jewelry. While it may take some work, an organized costume plan can help in every step of the process.

Before the show: Track pieces as you assign them to characters, then follow their progress throughout pre-production.
During the show: Tells the costumer exactly where any pieces are supposed to be, with ready-made checklists to run through before the show. The run crew will also know what (if any) pieces need to be set up in the wings or transported on stage between scenes.
After the show: Consult the plan to remind the crew what your company can keep after strike and what needs to be returned to another company.

How to Start a Costume Plan

You’ll first want to decide where to keep your costume plan. Some may prefer to write one by hand, but paper copies can be easily lost or hard to share. A spreadsheet made in Microsoft Excel or Google Sheets is easier to edit and share, keeping everyone up-to-date on the show’s progress.

Part of a costume plan for a production of Shakespeare’s The Tempest, created in Google Sheets

Next, determine how you’ll organize your plan. You could sort entries by scene, character, ownership status, or some other field. But you’ll want to be consistent and systematic, preventing you from losing or forgetting about pieces.

Your costume plan may change throughout the production, and that’s okay! Your plot should reflect the current status of the costumes, even if they’ve shifted from your initial idea.

7 Must-Haves in Your Costume Plan

Now that you’ve decided where to begin, knowing what to include on your spreadsheet is just as important. Be sure to record each of the following pieces of information in your plot:

1. Scene Information

Some costume pieces may need to be worn for some scenes in a show, but not others. Joseph’s coat in Joseph and the Amazing Technicolor Dreamcoat, for example, needs to be brought on stage by one character, worn by a different actor, removed by another, and then used again at the end of the show – all by different actors, depending on the director’s blocking.

Dividing the show into scenes and marking costumes accordingly can help you track where pieces need to be, particularly if they’ll be used in multiple scenes and places during the run. It can also help you see when and where any quick-changes occur.

If the script doesn’t list individual scenes (or those listed in the script aren’t working for you), talk to your director and stage manager. They can help you divide the script into more-manageable scenes.

2. Character Name

Who’s wearing the costume? Note any situations in which pieces switch between characters or are used as props. You could list the actor’s name instead, but that might be cumbersome (especially if multiple actors are playing the same role, such as if the show is double-cast or an understudy takes the stage). If you’re so inclined, you could color-code your plan. Assign a color to each character or just to principal characters and ensemble groups.

3. Ownership

Is the piece borrowed or did your team construct it? Pieces made by your crew will be easier to spot in spreadsheet form, allowing you to start assigning them early in the production process. This column will also help you easily determine whether you’re allowed to make significant alterations to a piece.

4. Status

Is the piece stage-ready, or does it still need alterations? (And have you started it at all?) You can also use your spreadsheet as a way to assign and track progress on any alterations.

5. Color Notes

Good costume design uses colors to help the audience easily identify characters or traits. Colors can help the audience distinguish characters from each other, or (alternatively) suggest how characters are related. You might include a column in your plan that tracks what primary colors are associated with each character and their costume(s).

6. Transition Notes

Indicate whether the actor will need help changing out of the costume and into another, as in a quick-change. You’ll want to assign costume team members or run crew to help actors with quick-changes, though you might not be able to anticipate all of them until you’ve run through the show a few times.

7. Type of Item

You might also think about your costumes as smaller segments – for example: tops, bottoms, shoes, and accessories. This will help you make sure you have a full costume for each character.

With a comprehensive costume plan, you can keep your whole cast and crew up to date with your design as it comes together.

Andrew Koch is a writer and editor from Cincinnati. He thanks his wife for sharing her custom-built costume plan for this article.

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A Meteoric Rise in the World of Lighting Design

Patty Craft — Fri, 03 Nov 2023 12:58:50 +0000

Jack Cannon is the principal designer at the company he founded, Cann Light. Jack is just 20 years old and the youngest graduate of the California Institute of the Arts, which means if you’re a high school or early college reader, Cannon was recently right where you are.

So how has he built a career in the world of lighting design and what advice does he have for students looking to do the same? Read on as Jack shares his story and actionable tips to chart your path beyond the school stage.

Focus Delivers Results

Jack Cannon Headshot – Photo By Meredith Adelaide

At age 14 Cannon got involved in theatre and quickly “fell in love,” and realized he strongly disliked having to turn down theatre work gigs because he had to finish high school first. So Cannon graduated early in 2020 as a 17-year-old junior.

Even before he’d graduated from high school, Cannon was focused on his dream. “I taught theatrical design for the first time when I was 15, at the Illinois Community Theatre Festival,” he said. “At age 16, in January 2020, I taught at the Illinois High School Theatre Festival and the Indiana State Thespians Conference where I also adjudicated the [state] Thespian Excellence Awards.”

During the pandemic, Cannon completed his CalArts degree plus an associate’s in Business Management and Administration.

Seeing is Believing

Students experimenting with lighting design at the California State Thespian Festival Workshops – Photo by Cann Light

While not everyone knows so early in life what they’re passionate about, Cannon knew what he enjoyed and saw opportunities that became stepping stones to his current career. If you know it’s theatre you love but you’re still not sure what you want to do, check out this post.

At the end of the 2020 Illinois High School Theatre Festival where Cannon taught six workshops, a participating teacher told Cannon, “It’s one thing when an older professional comes in to teach. Students see what they can become in 30 years. It’s a whole other thing when a student sees someone who is literally their age; a working professional and teaching.”

That experience has led to much of his success in lighting design and has also led to countless other opportunities.

Jack Cannon’s Tips for Theatre-Industry Success

1: You Be You.

“The best advice I can give to students is to never let anyone put you in a box or try to keep you in a box. You have to force yourself to push boundaries,” says Cannon. “It’s the only way you can explore your art and the art form that you enjoy most.” So be brave enough to figure out who you are and courageous enough to bring a unique set of skills to the table.

2: Think Like a Business Owner.

“Another piece of advice is that you must learn the business side of entertainment. Art programs struggle to effectively teach the business of being an artist,” he said. “It’s important that you take the time early in your career to understand business management, client development, accounting, and contracts.”

3: You Must Network. Period.

NBC Universal Virtual Production – Photo by Cann Light

Cannon admits, “All of my work can be traced back to asking and having coffee with an industry professional.” Who you know, who knows you, and who knows what you can do, makes the difference in getting gigs. In a world full of so many choices, it’s human nature to choose someone you know – or at least think we think we know. Introduce yourself and talk to people at every gig you do.

Choose the social media platforms where your decision-makers are hanging out; you don’t have to have a profile on them all. Then present a polished, on-brand profile with clear and easy ways to communicate with you. Interact in a general way on social. That is, don’t leave your profile to gather dust from inactivity.

Go to trade shows and meet people; leave a positive impression on them along with a way for them to remember you and contact you. And believe it or not, email is still one of the most effective ways to connect with people. Grow your email list and use it wisely. Reach out via email with a clear reason for someone to respond and have a conversation with you.

Jack Cannon teaching lighting design at California State Thespian Festival Workshops – Photo by Cann Light

4: A Picture is Worth a Thousand Words.

“Photography of your work is key. Start building a portfolio as soon as you have work to showcase,” Cannon says. Become friends with photographers that you meet, because it takes a special skill to capture the right image in a theatrical environment. Make genuine connections so photographers can also get to know you and what you’re trying to convey through your photography.

You can contact Cannon who said, “I’m open to everything and can be reached for engagements via email at education@cann-light.com.” Find him on Instagram and LinkedIn, too.

Patty Craft is a regular contributor to the Educational Theatre Association.

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Introducing SLShowTech

Sponsor — Wed, 18 Oct 2023 15:46:24 +0000

At SLShowTech, we have a simple yet powerful mission: to bring the magic of high-quality 3D animated scenic projections to every theater production, regardless of budget constraints. With deep roots in the theater community we understand the financial challenges that often accompany the pursuit of visual excellence. That’s why we’ve made it our pledge to offer our scenic projections at a price point that everyone can embrace – $600 or less for any show.

Why choose us?

1. Transform Your Stage with 3D Animated Projections

Our full show packages are designed to infuse your productions with unparalleled depth, taking your audience on an unforgettable visual journey. With dynamic 3D transitions, captivating special effects, and immersive interactivity, SLShowTech breathes life into every scene, ensuring that your production stands out in the spotlight.

2. Budget-Friendly

Quality should never be compromised by cost. We are committed to maintaining uncompromised quality while making our projections remarkably affordable. We firmly believe that every theater deserves access to the transformative power of scenic projections.

3. Script-Accurate

Our scenic projections are meticulously crafted in alignment with the official show scripts, eliminating any guesswork and ensuring that your audience experiences a seamless and faithful performance.

4. Instant Customization

We believe every show is different. With our innovative ShowOne App instantly tweak and transform scenes in real-time, allowing you to perfectly align every moment with your creative vision. It’s creativity without constraints, and it’s at your fingertips.

At SLShowTech, we’re not just about projections; we’re about empowering your creativity. We invite you to explore the endless possibilities that our 3D animated scenic projections can bring to your productions. Join us in transforming the stage, where every show finds its unique voice.

Experience the Revolution in Scenic Projections: SLShowtech.com

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Celebrating 50 Years of Hip-Hop

Patty Craft — Tue, 19 Sep 2023 14:57:59 +0000

Before Hamilton became synonymous with hip-hop theatre, nearly five decades of the hip-hop movement supported that massive hit. So, yes, if you’re a high school student reading this article, there’s a good chance your grandparents were grooving along the cutting edge of hip-hop’s birth into our world culture. (Grooving? Go ask your grandma.) 

The start of hip-hop history

In summer 1973 in Brooklyn, NY, DJ Kool Herc was spinning vinyl at a party, and had a wild idea. He put the same record on a pair of turntables, then isolated and extended the instrumental/percussion breaks – all the better to bring dancers onto the floor, he thought. He was more right than he could’ve ever predicted.

The people heard music in a way they’d never before experienced and were pulled to the rhythm and the beat. Without planning to, Herc had created a hot, new form of expression that took root in the souls at that party as soon as the sound hit their ears. From that tiny seed of experience, hip-hop has grown into a global influence in music, dance, fashion, language, technology, art, and so much more. It’s more than a musical category or style of dance: It’s a movement.

But what, exactly, is hip-hop

We did a short, unscientific experiment and said this phrase to a handful of different aged people and ethnic groups asking them to fill in the blank: “We say hip-hop, you say [fill in the blank].”

The answers we got largely fell into three categories:

Hip-hop is a movement; a culture
Hip-hop is a musical category
Hip-hop is a style of dance

Lin-Manuel Miranda on Hip-Hop

In a July 2020 interview with Billboard.com, Lin-Manuel Miranda said, “I mean, hip-hop’s the language of revolution, and it’s our greatest American art form.” 

However, long before Miranda spoke with Billboard, we interviewed him for Dramatics Magazine in March 2016 and he wasn’t talking so much about revolution as he was about being an aspiring actor. Here’s a brief excerpt we love, because, well, #thespiansforever:

[Miranda’s] earliest artistic goal was to be in his sixth-grade play. “The entire school would watch the sixth-grade play,” he said. “I remember as young as second or third grade already fantasizing, ‘What’s going to be the sixth-grade play when we get to sixth grade?’ It’s funny in retrospect to think how much of my life was spent thinking, ‘What show are we going to get to do?’ which is not the usual elementary school concern.

For fun, test your Hamilton IQ with our most popular quiz.

Hip-hop in theatre today

While Hamilton gets a huge amount of attention these days (rightly so), hip-hop’s influence has been seen and heard in a variety of musical productions: “Witch’s Rap” from Into the Woods, Stephen Sondheim in 1987; “Today 4 U” from Rent, Jonathan Larson in 1996; and “Dancing Is Not a Crime” from Footlose, Jeremy Kushnier in 1998, just to name a few.

Broadway choreography has also embraced hip-hop, with folks like: Jennifer Weber, 2023 Tony nominee for & Juliet and KPOP; Andy Blankenbuehler, multi-Tony winner for In the Heights and Hamilton; and Chirstopher Wheeldon, the talent behind MJ the Michael Jackson musical.

Choreography is especially important because it’s the easiest segway for students to bring their existing talents to the stage. If you’ve been to the International Thespian Festival (ITF), you’ve likely danced with Santana Trujillo in one of her hip-hop workshops. And if you haven’t experienced ITF yet, join us June 23-28, 2024 in Bloomington, Indiana.

Santana Trujillo is the owner of Gayton Dance Studio in Denver, and a favorite teaching artist at Thespian events like ITF in the United States and internationally.

Here’s Trujillo showing you how to step up your freestyle and TikTok game. These are five hip-hop dance moves every theatre student needs to know. Stand out at your next audition!

So whatever your niche is now or what you hope it will be, do yourself a favor and embrace hip-hop as one more must-understand theatre fundamental. It’s the way of the world, on stage and off.

Patty Craft is a regular contributor to Dramatics.org.

The post Celebrating 50 Years of Hip-Hop appeared first on Dramatics Magazine Online.

How to be a Student Director

Dylan Malloy — Tue, 06 Jun 2023 18:33:07 +0000

How to be a student director who leads with confidence and encourage others is not as hard you may think! As a student director you get the chance to empower everyone in the production. As a leader, you set the tone of the rehearsal room and can inspire actors to do their best work.

Here are four ways to energize your rehearsal room and form a close-knit group. How to be a student director in four easy steps!

#1 – Start with a warm-up

Getting loose before you start rehearsal helps everyone relax. Directors often use different theatre games to help actors have fun before rehearsals, but these games also target different areas of performance, such as focus, diction, and improvisation. Vocal warm-ups are another great option to make sure that everyone’s voice is ready for rehearsal. Here are some fun tongue twisters everyone can try. Warm-ups only last a few minutes but give people enough energy to sustain them for that day of rehearsal.

We carry tension in the muscles of our bodies, even if we don’t always realize it. This can make actors feel stiff onstage. Physical warm-ups are helpful for both body and mind; these also help reduce stress. Try a 10-minute yoga exercise together (simple beginner stretches are great for everyone no matter their yoga skill level). Or have a dance party to your favorite song. You can also stand in a circle together and practice shaking out the stiffness in your arms and legs.

Picking someone new to lead warmups every day ensures that everyone feels like they’re a part of the process. The best directors make sure that all cast members have opportunities to speak their minds, even about small things.

#2 – Spend time together in real life

Sometimes the key to having high-energy rehearsals is having fun together outside of rehearsal. Spending time together as a company helps everyone get to know each other better and feel more comfortable while rehearsing. This doesn’t have to be elaborate! Something as simple as getting dinner together or just talking outside after rehearsal allows you to slow down and enjoy each other’s company.

Photo credit Pexels RDNE stock project.

It’s extra special if the bonding activity relates to the play in some way. For example, if the play you’re directing takes place in the past, taking a trip to a local history museum can inspire new ideas for everyone on the team. If you’re directing a rock musical, sitting in the park and listening to similar-sounding rock albums gets you all in the right frame of mind. All that matters is making sure everyone feels included. And as a bonus, these hangouts often end up being some of the best memories from the entire production!

#3 – Encourage discussion

Directors should always provide space for the actors to explore the script. You might have one opinion about the story, and an actor might feel completely differently. Sitting down to talk about the script lets you hear everyone’s thoughts. As a leader, you want to make sure that everyone feels their opinion is valuable.

You can try directing scenes multiple ways so you can explore different interpretations. As an example, if you think an actor should deliver a line angrily, but the actor thinks they should deliver it sadly, try both versions a few times. You might find that an unexpected choice is the exact thing that the scene needs. Directors can empower their actors by leaning into discussions and encouraging them to make bold choices. When actors feel empowered, the energy level of the entire production is much higher.

#4 – Know when it’s time to take a break.

If you’ve ever tried to study for a test late at night, you know that it’s nearly impossible to learn while you’re tired. The same goes for rehearsal. Actors and directors alike need time away from work so they can recharge and refocus on the story they want to tell. Pushing people to work too hard leads to burnout. During high-intensity periods like tech week, when everyone is working for hours on end, directors need to be especially intentional about taking breaks. Try to sprinkle rest periods throughout rehearsal. This can be as simple as leading a short stretch exercise or organizing snack time.

You can also use breaks to check in with actors about how they’re feeling. During intense scenes, actors may experience a lot of emotions, and stepping away from the scene for a minute allows them to process how they feel. Earning the trust of your actors involves listening to their thoughts and providing support. Actors create their best work in a space where they feel free to express themselves!

Directors work to support the actors in their production by making the rehearsal room a positive place. You’re a leader both onstage and off!

Dylan Malloy is a regular contributor to Dramatics. Connect with her @dylan_writes.

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What is Dramaturgy?

Natalie Clare — Tue, 06 Jun 2023 17:53:37 +0000

What is dramaturgy, you ask? (Or you do not ask because you don’t even know how to pronounce dramaturgy!)

One of the most fascinating, and mysterious, jobs in theatre is that of the dramaturg. Tasked with understanding the story and all of its many components, a dramaturg can be crucial when developing a script and preparing it for the stage. Dramaturgs typically work with playwrights, directors, designers, actors, and/or producing theatre companies.

In this article, we’re demystifying dramaturgy. We’ll take a look at the craft itself, how dramaturgs chart their career, and what skills lend themselves to the role.

WHAT IS DRAMATURGY?

The basic definition of dramaturgy is “the art or technique of dramatic composition or theatrical representation.” It comes from the Greek word dramatourgía, meaning “a dramatic composition” or “action of a play.” In essence, dramaturgy is the practice of understanding the structure, context, characters, language, and themes of a play. It can also apply to opera and film.

What does the dramaturg do?

● Analyze play scripts and librettos
● Perform research about a variety of story elements
● Consult the playwright on a script’s form and structure
● Support the development of a new script, revival, or adaptation
● Advise the director, designers, production team, and actors
● Write educational or supplementary content for audiences
● Maintain knowledge of a show’s production history and author(s)
● Consult outside subject matter experts if the material calls for it
● Consider how the production will connect with today’s audiences

The role of a dramaturg can vary from production to production. Some dramaturgs work as freelancers and independent contractors, and some work in a theatre company’s literary department. This makes dramaturgy one of the most flexible careers in theatre.

Despite this range of tasks and functions, every dramaturg has the same basic objective. Catherine Sheehy, Chair of Dramaturgy & Dramatic Criticism at David Geffen School of Drama at Yale University, describes it in a video: “It is the dramaturgy which connects that work to its maker, its audience, and its cultural context. And it is the dramaturgy which connects all of those three to each other.”

KNOWING THE WORLD OF THE STORY

A dramaturg’s in-depth research informs and enhances the world of the story. That might include analyzing the time period of the play’s setting.

For example, August Wilson’s Century Cycle includes a series of ten plays that represent the Black American experience in each decade of the 20th century. A dramaturg would perform research on the time period’s major news items and events, details about typical daily life in a certain region, social dynamics between different groups of people, artistic and cultural movements, and other factors that influenced the lives of Black Americans as they’re relevant to the characters. In doing so, a dramaturg provides key insights about historical accuracy.

A dramaturg can also provide a look at a show’s production history, source material and origins, context around the material, and information about subjects in the story.

With The Curious Incident of the Dog in the Night-Time, for example, a dramaturg would research all of these areas. The play is based on a best-selling novel by Mark Haddon. Its world premiere production earned the show a reputation for its sophisticated technology and physical movement—an artistic and intentional choice made by the director and production team. There are also important interpretations of the show’s protagonist, Christopher. He has unique sensory challenges that are integral to his character development and the choices he makes.

In these scenarios, the dramaturg’s work can inform how a director approaches the material, how actors bring the characters to life, how designers envision sets and costumes, and how a theatre might supplement the production through educational materials and audience engagement opportunities. They might also consult with experts who already have a deep well of information about show-specific subjects, characters, and themes.

CONSULTING ON THE CREATIVE PROCESS

The scope of dramaturgical work for any given production depends on the needs of the artists and the theatre who is producing their work. Primarily, a dramaturg is there to support the playwright and their story with research, leaving creative decisions to the artists.

In an insightful interview with MusicalWriters.com, dramaturg/writer/scholar/creative executive Ken Cerniglia describes the basics of dramaturgy and his experience as full-time dramaturg and literary manager with Disney Theatrical Productions. His biography says that during his 16 years in this role, he “developed over 70 titles for Broadway, touring, international, and licensed productions, including The Hunchback of Notre Dame, Freaky Friday, Aladdin, Newsies, The Little Mermaid, High School Musical, and Tarzan.”

He says in the interview, “[P]art of my job is to bring relevant historical facts into the creative discussion to enable informed decisions. You can’t take artistic license if you don’t even know what you’re departing from in the first place, and more importantly, why. At the same time, if you’re rigid about historical and scientific accuracy, you risk being boring.”

Cerniglia then explains how his dramaturgy helped Disney bring the theatrical adaptation of the 1992 movie musical Newsies to Broadway. He performed research about the actual 1899 New York City Newsboys Strike, and how historical figures like publisher Joseph Pultizer (the musical’s villain) played a role in it. His research provided important context that helped the creative team make some changes from the source material that enhanced the story but still maintained historical accuracy.

He describes, “The musical’s book writer, Harvey Fierstein, also invented the character of Katherine, which was the name of Pulitzer’s oldest daughter, but Fierstein made her a reporter—a young career woman—and a love interest. This choice provided our 21st-century musical with an appealing female lead and juicy second-act plot complications. Although not historical, Katherine Plumber was historically plausible; our research into journalist Nellie Bly, who was famous decades before 1899, helped inform the development of the character.”

WHAT MAKES A SKILLFUL DRAMATURG?

Dramaturgy is an ideal area of expertise for those who are passionate about theatre and gravitate to roles off stage. It’s essential to have general knowledge of the theatrical art form and its history. It’s also important to know how a play comes to life and who’s responsible for what during production.

Dramaturgs who excel in their field commonly have the following characteristics:

● They love to read, write, and research new topics.
● They have a strong grasp of literary analysis, including narrative structure, character development, symbolism, and language.
● They work well both independently and collaboratively.
● They’re detail-oriented and keep their work organized and clear.
● They’re sensitive to and respectful of the creative process.
● They’re observant, curious, and open-minded.
● They consider how art, in all its forms, relates to larger social and cultural contexts.

Does this sound like you? If so, the field of dramaturgy might be calling!

Natalie Clare is a regular contributor to Dramatics. She’s a freelance writer who specializes in arts and culture, and is based in Cincinnati, Ohio. Visit her work at nataliecwrites.com.

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