Interview: Tech Talk with Lighting Designer Amy Lewis

Very few audience members know what goes into the technical aspects of a stage production. Without the theatre's technical artists, often the unsung stars of any production, your experience at the theatre would be very different. In a new series of articles about the Technical Theatre artists of Austin, BroadwayWorld will be introducing you to some of the artists behind the scenes... the set designers, lighting designers and costumers whose work is so vital to a successful production.

The process of lighting a play, dance piece, or opera is highly subjective; each designer has to develop a process that works for them. Lighting designers know how to use the subtle and powerful medium of light, creating effects that can be changed at will to match the mood of the action. We start our series by talking to lighting designer, Amy Lewis.

BWW: Can you give our readers a little background on you?

AL: Born and raised in Texas, went to college in Texas, then realized I was a weirdo, and decided to move to Austin where I would fit in.

BWW: Why did you get into lighting design?

AL: I fell into it actually. I was about halfway into my sophomore year of college, and I was in the B.F.A. theatre program. The college I went to encouraged us to be theatre generalists, and as I wasn't terrific at costumes (If it can't be fixed with spray adhesive, forget about it) and painting sets and organizing the scenic shop were just alright, I volunteered to help our technical professor one afternoon do a light hang. It was then that I really understood that lighting design wasn't just a concept written on a chalkboard, but very tangible and real.

BWW: Where in Austin have you done design work?

AL: Anywhere they will let me! I'm lucky to have worked at the Vortex, SVT, The Off Center, The DAC, The Boyd Vance, City Theatre, Trinity Street, Ground Floor Theatre, Brentwood Christian School, and at the Rollins.

BWW: What is your training?

AL: I have a B.F.A. in theatre from McMurry University. If I am honest though, working in the ideal circumstances of a university setting, in no way prepares you for the guerilla style of Austin theatre. I learned a whole lot just by getting in there and getting to work.

BWW: Do you have mentors or influences?

AL: Oh yes, first and foremost, my theatre professor Charlie Hukill. I have been in the middle of designing a show more than once, and wondered, "What would Charlie do?" He gave me a wonderful basic understanding of lighting, and is still super supportive of my work. Patrick Anthony is also someone that has taught me a lot. (Not sure he knows that.) I have worked with him as a stage manager, and have helped him focus lights a few times. His dedication to the narrative, and lighting not just the actors, but providing an entire sense of story with his work, is something that I aspire to do as well as Patrick one of these days.

BWW: When you sign on to design a show; where do you start?

AL: I start with the script if it's a play I am not familiar with. I like to get a sense of the color from the words. Does that make sense? Although sometimes, I just have to attend a rehearsal and take notes. I sometimes get my best ideas from watching what the actors do with the words, especially when I feel like a particular scene is ambiguous on the page.

BWW: What resources do you consult? Are there any books you use? Do you look at pictures from past versions of the same show?

AL: A few years ago, when I started working in spaces I had never designed in before, and encountered equipment that was completely foreign to my experience, I would absolutely consult my lighting/scenic design textbook from college. That was $120 well spent! I rarely have to do that now, but I still keep it on my book shelf, because you never know! As far as looking at past productions of a show I am designing, I very rarely do that. The exceptions are most generally musicals, and if I am not familiar with the music, you bet I will look it up on YouTube. Even then, I don't watch the production, but listen. I don't want to see it because, I don't want to get down on myself that I can't have lasers, and robotics, and I don't want to subconsciously steal someone's design, and put my name on it.

BWW: How much inspiration for your design do you draw from the script? How much of it is the director's input, and how much of it is your own ideas?

AL: I get quite a bit from the script, but I can't complete the picture until I have had a conversation with the scenic designer or seen a rendering from the scenic designer. I also need to see a rehearsal, because actors have a wonderful way of changing my mind about choices. Ultimately, the final design choices are contingent on the director. They are the captain of the ship, and acting against their wishes is mutiny, and nobody likes a mutineer.

BWW: What is your basic schedule, from being signed onto a show through opening night?

AL: When I agree to design a show, the first thing I do, is request a copy of the script. Then, I usually schedule a time to attend rehearsal. I like to attend a full run-through so I can get a sense of how the show will flow (rhyme time!) once it's on the stage. I will sometimes have production meetings prior to attending the rehearsal, but I won't solidify anything until after I have watched a rehearsal. After watching the rehearsal, I like to have another meeting, and nail down the details. Once that has happened, I will draw off a plot. Then usually five days prior to opening night, we will load-in, I will hang, focus, gel, program, and tweak. Once I am satisfied, I will pass it on to the stage manager and the board op.

BWW: When is your schedule the busiest?

AL: Tech week, hands down. I have a day job, so once we load-in a show, I will try and work 8 hours at my day job, and spend as much time as I can at the theatre working. This is why I really love it when I am allowed to load-in on a Sunday. I can get my hang out of the way in a matter of an afternoon, instead of working into the wee hours of the morning.

BWW: Most audience members aren't even aware of the planning that goes into a show. Do you often participate in production meetings and/or design meetings? How do you prepare for meetings? What do you bring to the team at the start?

AL: I always have a color in my head when I read a script from a design perspective. I like to have a good sense of the tone and to me that always translates into color. The amount of meetings I attend really depends on the production team. Some companies like to meet every two weeks, and some companies want to meet up once or twice, and sometimes they only need you to attend a rehearsal and talk with them afterwards. I always try to approach design meetings with an open mind. I never want to be inflexible, because working well with my fellow designers is key to having a cohesive production. I will, however, go in with some preliminary gel swatches, and make sure I am educated on the capacity and limitations of the space in question. That is vital because sometimes I am asked to do things that are a bit impossible within the budget or just incompatible with the space itself.

BWW: Do you make your budget or is it more often given to you at the start? What do you take into consideration when making your budget? If items aren't available to you and not considered in the budget, how do you obtain them?

AL: This is always tricky, and it too varies on the company you are working with. A good example of this is being a member of Loaded Gun Theory. As a member of the company and the resident lighting designer, I participate in the financial planning of the show. As we produce original plays, which are most of the time written collaboratively by the company members, I am aware of what we need, and how much it will cost to obtain what we need if we don't have it and I can confidently put a number on paper. When working outside of Loaded Gun Theory it can go several different ways. Sometimes I'm not given a budget, and told to spend what I need to and submit the receipts later. Sometimes I am given a very specific budget, and then sometimes I don't have one at all. I'm very lucky to know very kind and generous people within the community who are happy to loan me equipment, or charge me a minuscule amount to rent equipment for a run. Then there are also times when you just have to get creative. I found out just recently that it is indeed possible to make simple gobos with a piece of flashing and some tin sheers!

BWW: What are the biggest challenges you find in designing?

AL: Almost always, it is the time constraints. 5 days is good, the average is 4.5 and that's pushing it, and 3 days is nearly impossible. Add to that, the fact that some of the spaces close at certain hour, unless you want to pay more, and the fact that I have to keep my day job and get some sleep. There is a reason opening week is called "hell week". I also find being a woman in this position can be a little difficult. It is tempting for men in technical positions to "mansplain" and/or question my judgment. I try not to let that get to me, but there have been times when I have gone home after a long day at the theatre, and made myself a giant cocktail, just so I don't get so frustrated that I cry myself to sleep.

BWW: What are your three favorite productions you've designed and why are they your favorites?

AL: #3: Exit 27: Creating a night sky was not as easy as I thought it would be, especially when I assumed that Olden Lighting carried star gobos. Nope! I made my own that week, and it turned out really well. I also enjoyed working with Southwest Theatre Production's creative team, even though tech rehearsal at the Boyd Vance can be a bit hairy when the control console is located in a sound proof booth.

#2: The Strings of Time: I finally got to work in the Rollins! I was a kid in a candy store. They have stuff ya'll, and all of it works! I had designed musicals before, but never a show that was exclusively dance. Add in the fact that the set was projected and the aerialist had to be lit without obscuring the projections, and I had a wonderful challenge on my hands. Then there was the bubbles....don't get me started about that, bubble machines are jerks btw. Overall it was a wonderful experience and I really enjoyed working with Prakash and the rest of the Agni team.

#1: Assassins: I know The Statesman hated it, but I think it's probably the best design I have ever done. I also just love that show. Anyway, it was also the first time I got to work with Ia Enstera, and she gave me one of the best ideas of my design career. It was also the first time I went really bold with my color choices, and I learned that going big might get you slaughtered by the critics, but I loved the aesthetic we picked for the show, and I still get the chills to this day, when I see pictures of that show.

BWW: Is there anything else you'd like to share with the readers of BroadwayWorld?

AL: Be kind in the comments section? LOL. I have bookings available, so don't be shy about getting in touch! More seriously, theatre is collaboration and there are so many elements that go into making words three dimensional. I encourage everyone to contemplate that the next time they go to the theatre.

We'd like to thank Amy for taking the time out of her busy schedule to give our readers a glimpse into the very important behind the scenes art of lighting design.

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