Julius Caesar

In the summer of 2006, while I was working five days a week, I was asked to provide lighting for Single Shot Productions' setting of Julius Caesar, directed by Noah Putterman. Although I had no idea how to do it, although I couldn't be present for the Saturday show, although I'd never heard of this Putterman fellow, I accepted. It had been too long (the previous December) since I'd felt the thrill of live theatre.

Unfortunately, I really didn't have time for a new project, or I would have enjoyed the whole process a bit more. Julius Caesar remains the only outdoor show I've done with lighting, and in my opinion, it wasn't really worth the hassle. We ran into a lot of issues, not the least of which was the fact that all the lighting equipment had to be moved securely indoors after every single show and repositioned before the next one could begin.

This is probably a show best categorized by its problems, from a lighting perspective.

• Problem #1: The show is outdoors in a theatre with no pre-installed lighting fixtures. Outdoors means long throw distances, which means we need higher-powered instruments than 100W lightbulbs. My solution: rent two light trees, eight 575-watt S4 Pars, a light board, and dimmers from Stageworks Lighting, Ltd. Set up the trees outside on the roof of the little house at the back of the Forest Theatre. Run the light board from up there, too.
• Problem #2: While most of the action occurs on-stage, some of it happens out in the audience section. It is important that this action, too, is lighted. My solution: in addition to the Pars, rent a Mole-Richardson 1K Solar Spot and a stand for it. Point it at the audience, flood it, turn it on, and hope it has enough punch to satisfy the director. It does.
• Problem #3: There are three usable electrical circuits in the building. A typical 20-amp electrical circuit can run a maximum of 2,400 watts, or four 575-watt instruments. One of the circuits is in the bathroom, one is outdoors, and one is in the dressing room. My solution: this is not really a problem, only a frustration. Run long cables to your light trees (from separate circuits), and another very long cable to your Solar Spot.
• Problem #4: The Solar Spot is too far away from the operators, and it's not connected to the light board. This means it cannot be dimmed; it's either on or off. My solution: delegate. One of the actors is willing to turn the light on and off when it's needed; let him do it. Fortunately, the director is willing to compromise when it comes to dimming.
• Problem #5: Stageworks wants your assurance that the equipment will be kept out of the weather, but you plan to perform in weather. My solution: all your equipment needs to be broken down and moved inside every night after the show, and reassembled before the next day's show. Curse and spit about this as much as possible, and suffer loudly so the actors feel sorry for you.
• Problem #6: For very good safety reasons, the outdoor power outlet is GFCI protected, and it's raining. You don't have any lighting. My solution: before the sun goes down, go without lighting. Afterward, wipe off the outlet with a towel, cover it, and pray you won't get electrocuted or destroy the rental equipment.
• Problem #7: You won't be here for the final show, or for strike, and you're the only person who knows where all this equipment came from. My solution: delegate. You don't have to go it alone; get some help. Bring in your friends Lindsay and Ananta, and teach them everything: where the lights go, how to protect them at night, what the cues are, and when to take them. As for the equipment, write out a summary of where everything belongs and give it to someone. After you leave for the beach, it's not your problem anymore.

It was nice to see and hang out with Ananta and Lindsay; I'm really glad they were able to help me out by running the show. It wasn't a bad show by any means; I would hate for anyone to get that impression. Most of the characters were really incredible, and I was able to do some cool things with the limited lighting I had available. It just wasn't a good experience for me because I was trying to do too many things at once: finish up at work, pack for college, get ready for the beach, see Leigha as much as possible. And on top of it all, I devote every evening to Shakespeare?

This is where some wise person out there says to me, "As it should be, young Padawan."