Lovers and Liars : A David Garrick Double Bill
Taking on the role of lighting designers has proved challenging but rewarding; both being new to the technical side of a production and the scenic stage. Our job so far has included researching original lighting of the period and grasping how methods have changed over the years.
We first started our research by exploring 18th century techniques for lighting the stage. We understood that Garrick was limited to candles and later gas when illuminating the space he was working with. Our decision to move The Lying Valet to a 20th Century setting meant a change in design and a decision to light naturalistically as we know it today. This has therefore meant we have more freedom and control over the space.
The set designer’s decision to have a fireplace as the central focus of the set meant that we have considered how colour can affect an audience’s perception of the set, and with this in mind we have tried to show strong contrasts between different houses and warmth.
After putting the books down we needed to put the theory of lighting into practice. As novices we understood we’d need a few lessons before matching the standard of previous TFTV productions. As our knowledge of the different lights and their attributes grew so did our confidence and we felt ready to start drawing up some plans.
The process of designing our plans starts with a rough draft where we discuss initial ideas together and consider which lights may work well. Once all the basic decisions have been made, we map these onto paper before finally converting it into a final draft on the computer. This week has been the most important for us as designers as, with just over a week before the play, we have now begun rigging and focusing, and get to see our vision light the set.