Bloody, Bloody Andrew Jackson
We had the opportunity to work at the Chance Theatre this last summer, providing the lighting for Bloody, Bloody Andrew Jackson directed by Kari Hayter. This was a challenging project because there was no real working budget for lighting, and the Chance Theatre has a grid height of only 12 feet, with 40 working dimmers and not a lot of wide angle instrumentation, to keep the angles steeper. Fortunately, the Technical Director for the theater pulled a couple of favors and we were able to get the following inventory into the theater to do the show.
14x 6ft ETC paletta strip lights
24x ETC Source-four 50º
8x ETC fire and ice 11" Seladors
With this inventory and some strategically placed Color Blasts, provided by us, we went about creating a very unconventional plot ( see the attached plot as an example). We used nine of the Palettas to wash the walls of the set to get the actors to pop against the background and to give the set some life during the rock numbers. We knew that with such a small space the director would be forced to push the actors against the set to try and create depth in the scene work, but the punch of the paletta allowed us to color the walls so we could edge out the actor. We then used the remaining Palettas as a 2 point front light to fill the actors faces and color the rest of the set. After the initial read we were hoping to create the rock-and-roll feel with a traditional par bar rig, however, due to the dimming and the budget restraints, we used the fire and ice units to fill that role. These units were placed in a cluster, creating a back light wash that also acted as the 3rd point of a 3 point lighting rig. The end result was pretty satisfying, we found that the traditional color mixing that had to be applied in the programming of the fixtures allowed a result that created color and movement similar to what those old par bar rigs provide. Lastly, we used the source-four 50 degree ERS's to provide the two front keys in the three point system to cut through the pure color of all the LED light in the space. These provided selective visibility in the scene and song work. There were no follow spots, but with the help of the director we were able to crate some very isolated and memorable moments.