"I think 75% of what a lighting designer does is solving problems. So much of the design thought process is about creating the best picture within the limitations you’re working to - and there are always limitations! If you remember the basics of lighting design you can usually get a good end result - it may not always be the end result you were hoping for, but it can be a pleasant surprise.
"Don’t ever forget the basics: cover the performance area in a simple way and hopefully leave yourself something to play with for effects. It’s amazing how much you can achieve with very little equipment. I’m a bit of a minimalist myself, though my crews may not usually think so! Good key light on the set is important and ideally I like about three to four positions in order to transform the set and create sculpting and mood.
"I’m not a big fan of the 45-degree front wash; I think it’s had its day. I prefer to light from the proscenium boom or slightly upstage of the proscenium as I think this angle sculpts bodies and faces better. I like a three-quarter front light and three-quarter backlight for my basic cover. I definitely hate flat front light. I always try and have a side light wash, even in drama. My ideal angle is for a high cross-wash: a low wash, although very useful, can be problematic, depending on what’s on the other side of the stage. A high angle gives you great sculpting, which always enhances your pictures. The essential ingredient in my rig, and something I’ve been doing for a long time, is a gobo wash from overhead. I used to do it as a backlight wash, but I realised that the top light still enabled me to light faces and was more flexible than a backlight wash. I like to use an abstract, broken shape that just adds some texture.
"You can get a lot of colour variation by just using open white tungsten light and varying the intensity levels. Once you start adding gel, you lose some tonal control, so I play around with the possibilities that open white offers. I do like a heavily-saturated colour in a top wash or in my backlight as it gives you variety and flexibility.
"A lot of great lighting happens by accident and I think you have to be willing to look like an ass at times by trying something out - for instance using slightly more obscure angles or even being inspired by the way the work light spills onto the stage from the wings. You need to stay open to the visual possibilities around you.
"My advice to newcomers is to be in control of your rig by knowing your rig and your tools. This doesn’t necessarily mean you have to know everything about the technology, because maybe that isn’t your style, but you must understand what you’re working with. Technology has eased off a bit and we’re getting time to catch up and use equipment for its merits - not just because it’s new."
