Alright. I need to complain about how awful the lighting was for The Grand Theatre's production of Eurydice. Call me biased, but I always pay more attention to lighting anyway, so forgive me if my critique is too harsh. This set was a 9-out-of-10, ok? Like, old swimming pool with that blue-green tile, water stains, mosaics—decorated nicely, too. And a friend of mine, whom some of you may know, Brenda Van der Wiel, did an amazing job on the costumes. I felt that the sound was mediocre at best, but what I really want to talk about is the lighting. I think I should start at the beginning.
Oh, and... before I start, can I just ask: Are their fucking dimmer racks mic'd? Sorry.
When I walked in I only got a moment to look at the set warmer because I was running late. But, based on the design of the set, the colors I saw worked really well. Deep blue-greens helped to wash the set and bring it to life. But I noticed a bit of haze, and I wasn't sure what was going on with that. And that brought my attention to the cyc lights that were on, but weren't lighting a cyc or the curtains (which, despite them being black, wouldn't have surprised me).
In fact, I couldn't ever figure out what they were supposed to be. Cheap backlight?
Anyway, as the set warmer faded and the opening scene rose, I wasn't surprised. Nothing looked different. I mean, same colors, same basic idea, maybe 5-10% brighter than the warmer. Oh, but Eurydice and Orpheus has spotlights. Let me clarify: Eurydice had a slightly brighter spotlight than Orpheus did, and by brighter, I mean different colors. Not a wise choice. Every time Eurydice would get close to Orpheus I breathed a sigh or relief because he didn't look so dark anymore.
Moving on.. after all, that is the point of this blog, is to help me move on. Oh my God, so many things. Ok, focus.
There were some interesting color choices for this lighting. And by interesting I mean salmon and teal—that's it. Oh, and there were a few different colored gobos, but essentially, just salmon and teal. My middle school was painted salmon and teal. Yes, I understand that they're complementary, but that doesn't mean it's a good idea to use them together. Oh, my high school was also painted salmon and teal, hence the picture of my high school auditorium. Ah, yes, it's all beginning to make sense.
Aside from some awful cues, that's basically it. And I've rambled on enough as it is. Oh.. and next time you design a show Mr. Rodney Elwood, will you consider using some front light?
Anyway, as the set warmer faded and the opening scene rose, I wasn't surprised. Nothing looked different. I mean, same colors, same basic idea, maybe 5-10% brighter than the warmer. Oh, but Eurydice and Orpheus has spotlights. Let me clarify: Eurydice had a slightly brighter spotlight than Orpheus did, and by brighter, I mean different colors. Not a wise choice. Every time Eurydice would get close to Orpheus I breathed a sigh or relief because he didn't look so dark anymore.
Moving on.. after all, that is the point of this blog, is to help me move on. Oh my God, so many things. Ok, focus.
There were some interesting color choices for this lighting. And by interesting I mean salmon and teal—that's it. Oh, and there were a few different colored gobos, but essentially, just salmon and teal. My middle school was painted salmon and teal. Yes, I understand that they're complementary, but that doesn't mean it's a good idea to use them together. Oh, my high school was also painted salmon and teal, hence the picture of my high school auditorium. Ah, yes, it's all beginning to make sense.
Aside from some awful cues, that's basically it. And I've rambled on enough as it is. Oh.. and next time you design a show Mr. Rodney Elwood, will you consider using some front light?
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