Frank Brault Rocks!

Check out our fun trips through Vectorworks...! We did this 3D lighting scene among other exciting exercises like: building galleries, theaters, booms, all kinds of stuff that will make using Vectorworks a joy rather than a chore...know your system, know your software...and have some fun!

Thank you Frank for all your help! My life with Vectorworks won't be the same!

Penny, thanks for bringing him to us!

Visualizing the Design

As many of you know, I am studying at the University of Massachusetts, Amherst for my MFA in Lighting Design. At the beginning of the 2009 Spring semester, I was assigned a paper project on William Inge’s Come Back, Little Sheba. It was to be my last assignment for the semester, and although I had all the materials to begin my research for the production, I chose to wait until I had cleared my plate. However, what I forgot at the time was that this semester was to be a seven-course meal, and the largest course, Come Back, Little Sheba, was to be the last course. So, before I had cleared each plate, another larger plate would be served. Needless to say, I wasn’t prepared for my first seven-course meal. I was able to get to the seventh course, but once I got there I couldn’t finish it. Luckily, my advisor, Penny Remsen, gave me a doggy bag to take home with me, but she is coming back in August to make sure I have taken in and digested the production.

I have met with Penny a few times this summer to discuss the my progress and the production, but each time I walk away wondering why I can’t move forward. During our last visit, Penny suggested I create a model to help me visualize the set and the arch of the production. Over the past eight years since I started exploring the world of light, I have always been able to observe the development of a production from the first reading to each rehearsal and the final run. This kind of attention and deep involvement has resulted in a few successful designs and many wonderful experiences, yet it is not a method that I will be able to practice as I move into the professional world. The hope is that by creating a model I will be able to visualize the action of the play in relationship to the scenery. By seeing the space 3-dimensionally, I will be able to calculate the desired angle and direction of the light, as well as, developing a light and color scheme that will enhance the overall production.

Here are a few photos of the model I built from the scenic designers draft…


Living room, the "x" means you can see through that part of the wall...


The designer, James Noone, removed the wall separating the living room from the kitchen...


The finished set!

Theatrical Development

Marcus Gardley

I sat in on a production meeting today for ...And Jesus Moonwalks on the Mississippi by Marcus Gardley, our faculty playwright. I had been hearing a lot of conversation about the process...lots of information, lots of technology, frustration, challenges, questions, confusions...the real problem however isn't anybody or anything that has happened, but simply the fact that nearly nobody is used to working with so many unknowns. They aren't used to experimenting with the an ever evolving set, script, and production elements. I would love to work on this project, but my faculty adviser, Penny Remsen, decided that this was too close to my cup of tea. I have worked in experimental theatre for the past 9 years at both Westmont College and Lit Moon Theatre and I need to learn some other ways of approaching the art form.

Anyway, the experimental process is really having its toll on everybody! Here's the scenario...

The set keeps changing or being adjusted (in the grande scheme of things very minor adjustments, but adjustments nonetheless), the script is still being worked as the director, performers and playwright become more familiar with the characters in relationship to the actors, we are beginning to work with projections, lighting, and sound, and the production opens April 30th (7 weeks). Plenty of time if we weren't working with so many projections with equipment that is less than unsatisfactory for the purpose, as well as, so many students, faculty, and staff who are used to having a fixed set, ideas, and purposes.

So, here's the question...At what point do you stop changing the theatrical elements and start polishing them?

My personal thought...it never stops changing until the show closes for good...experiment until you can't experiment anymore!!!

A friend says goodbye

My graduate adviser has quickly become what I consider "a dear friend". She is someone that cares genuinely, deeply, and regardless. I appreciate the guidance and support she has given me just in this first year of knowing each other.

Late yesterday afternoon, her pup of 16 years passed away in her arms. I can think of no better way for a dear friend to pass. And so, as you say goodbye to your little one, I hope you know that we are all here to support you and listen...genuinely, deeply and regardless.

Here's to your pup, your friend, your baby...Here's to Fanny!!!