Lighting Designer

This document details some of the work generally performed by the lighting designer. It is not a definitive document as the duties of the lighting designer will always be influenced by the needs of the production and the assigned crew.

Job description

The lighting designer determines how the onstage world will be lit to inform the audience’s perception of the physical items. Lighting can determine the mood of the performance and significantly affect how set and costumes are viewed, as well as directing the audience’s attention towards, or away from, certain aspects. The lighting designer will supply the Head of Lighting with a lighting plan, direct the focusing of lights, create cues during the plotting session, and attend technical and dress rehearsals, making any necessary changes to the lighting.

As the lighting can only be created in the performance space, the lighting designer’s role tends to become more intensive leading up to bump-in, and becomes very intensive over production week.

As soon as you are assigned to a production

• Get a copy of the script and read it, once to just read it, then again making notes on your first impressions of the lighting design.
• Meet with the director to discuss your first thoughts regarding the design, and the director’s thoughts and requirements. It can be very difficult to describe lighting effects verbally, so use as many reference images as you can get, including photographs, paintings, and scenes from movies.
• Meet with the production manager to discuss the timeframe, crew availability and budget. Create deadlines for the design.
• Obtain information about the performance space, lighting positions, and available lighting equipment. These may be in the form of plans and lists.

The next step (as soon as possible)

• Begin creating your design concept and discussing it with the director. Focus on the overall “feel” of the lighting rather than specifics at this stage.

For each rehearsal session

• Read the stage manager’s rehearsal report to check for any relevant information, and respond to it.

Three to four weeks prior to first performance

• Attend any full runs of the show in rehearsal. From this, make additional notes about how the lighting should look and feel at each point in the show.
• Notate cue points on the script. Use pencil, as these will likely change.
• Make a draft cue sheet, listing each cue number, where it happens in the show (act and scene number and/or page number), details of what it looks or feels like, and the lights you will need to create each look. You will use this document during plotting to guide you.
• Have a cue meeting with the director and the stage manager, where you discuss the draft cue sheet and cue points. This is an opportunity to make sure you are on the same page with the director and haven’t missed a special, for example, and for the stage manager to start marking cues into her or his prompt script.

Two weeks prior to first performance

• Attend any more full runs of the show in rehearsal.
• Create a lighting plan. This is a technical drawing showing all the lights in their rigged positions, as well as the type of light, channel numbers and colour numbers.  Make sure you make reference to the equipment list and venue plans, so you will actually be able to implement what you plan.
• Share the lighting plan with the head of lighting, so s/he can begin prep work.

One week prior to first performance (production week)

• Oversee the lighting bump in to respond to any in-situ changes.
• Working with the head of lighting and other lighting crew, direct the focus of lights.
• Plot the lighting, with the director, stage manager, head of lighting and other lighting crew. This is where each cue is created and recorded into the lighting console.
• Make any changes required from plotting.
• Attend all technical and dress rehearsals, and make changes as required.

For each performance

• Read the stage manager’s performance report for each show, and respond to anything relevant.

After the season (bump out)

• Final design documents should be archived for future reference.
• Evaluations and feedback