Bravo!
E W ’ S G U I D E TO T H E P E R F O R M I N G A R T S
DESIGNER SARAH ETHERTON AND A FRIEND WORK ON
THE SET OF VERY LITTLE THEATRE’S CURRENT
PRODUCTION OF TO KILL A MOCKINGBIRD
IT TAKES A
VILLAGE
A peek behind the scenes at the technicians who bring Eugene theaters to life
W
hen we think of live performance, we
probably picture actors or dancers — the
people we regularly see onstage. But where
would a production be without the tireless,
behind-the-scenes magicians who create the
sets, lighting and sound?
University Theatre’s Janet Rose helps her UO students
understand the action on stage is supported and enhanced
by a whole network of supporting actors, as it were. “As
I’ve explained to the basic technical production class,”
Rose says, “‘Yes, theater is a essentially human acting out
a story to other humans.’ However, adding scenery,
lighting, sound, costumes and all of the elements add to
our overall reaction to the theater event.”
So sit back and enjoy Theatre Design 101, taught by
some of the many people in our community who routinely
make our stages shine.
Let’s start with the set, which can move a narrative
forward and create emotion, often before the play even starts.
“First, I try to communicate the where,” says Cottage
Theatre’s Tony Rust. “Where is this taking place, where are
these people interacting? Then I try and reflect the inner
world of the characters and stories through color, textures
and shapes. When an audience first sees a set, they should
have important clues as to what sort of story we are telling.”
Adds Actors Cabaret’s Joe Zingo: “The set design for
our theater must communicate the essence of the emotional
content of the piece. The shape and placement of the
platforms and walls, the colors, the scenic elements
constructed must always reinforce the actors’ intent
without competing with them for the focus.”
But how will the set be lit? Is it flaming oranges and
yellows or murky grays and blues? Is it a spotlight trained
on one dramatic moment or a bank of footlights glimmering
across a stage full of hoofing chorines?
In both theater and dance, lighting adapts to the needs
of the moment.
“The visual enhancement of theatrical dance is
predominated by light,” says UO Dance Department chair
Jenifer Craig. “What is important for each dance is that the
choreographer’s intent is enhanced by the choreography of
lighting,” she says.
But as audience members, few of us probably realize
how much skill and finesse the plotting, hanging, focusing
and running lights for any show requires.
“All lighting designers start out with the technical
knowledge of lighting equipment and electricity,” Rose
says. “I draw a light plot, which is a technical drawing
showing the placement in the theater and the particulars
(type, color, lens) of each lighting fixture. For us [UO
Theatre], that’s between 100 and 125 individual fixtures
for a production.”
And perhaps most ephemeral of all, sound has the
capacity to add to a performance. A creaking door, a gust
of wind, music and mayhem: Sound transports, adding to
the experience.
“Sound design is an unseen enhancement to a
production,” says The Shedd’s Cosmo Cole. “At best, it
should hardly be noticed. At worst, it is a distraction to
what the audience should really be focusing on.”
So whether it’s in the area of set-building, lighting or
sound design, local theater wizards have white-knuckled
their way through some pretty amazing feats.
Maybe you saw Very Little Theatre’s Tempest design,
based on Jung’s concept of individuation? Or Actors
Cabaret’s Les Miz, with its many passages of time?
Perhaps you caught the UO’s production of Metamorphosis
that featured a 3-by-12-foot water trough onstage? Or
Cottage Theatre’s A Flea in Her Ear, with its three-story
staircase that appeared and disappeared between acts?
As we celebrate a new performance season, let’s take a
moment to champion these unsung heroes of local theater:
the set, lighting and sound designers who make stages
sparkle, but never take a bow.
We salute you! — Rachael Carnes
PACKAGED HONEY BEES ON SALE NOW!
GloryBee will be hosting their annual Bee Weekend Event
April 8 & 9. Pre-order your bees now and pick them up at the
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Visit www.glorybee.com or Call 800-456-7923.
• 2 & 3 lb. Bee Packages
• Marked & Unmarked Queens
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The Preferred Source of Beekeeping Supplies & Equipment
ORDER DEADLINE: Friday, April 1, 2016 for packaged bees and queens. Shop early —when the truck is filled, we stop
ordering. ORDER DEADLINE FOR NUCS: Friday, April 15, 2016. CANCELLATION/REFUND DEADLINE: Customers
need to speak with a salesperson to request a refund. Refunds will not be authorized via email or through voicemail.
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14
January 21, 2016 • eugeneweekly.com
Run Dates: Thursdays, April 21 & 28, 2016
29548 B AIRPORT RD • EUGENE