Sheila Chisholm
THEATRE patrons often overlook, or ignore, effects lighting has on a production. More aware viewers may perhaps notice a soloist in a spotlight while certain scenes seem brighter or darker than others.
Yet, how many wonder how it happens? Or who makes it happen? Or what would happen if lighting remained constant?
So armed with these questions I chatted to Shamiel Abrahams, lighting designer and technician at the Artscape Theatre.
Modestly he made light of his work, implying drawing up lighting plots was relatively simple. Never-the-less what came across is lighting a ballet, opera, musical or play is as complex an art form as any production’s actions... regardless of the medium.
It’s also compounded when the original plot was designed on the opera house’s lighting board and the production moves into a different theatre/venue.
However, it is an art that cannot stand alone.
Nor can it be taken out of a theatrical space – indoors or out. Lighting effects creating mood swings contribute towards making every presentation “whole.”
If it remained unchanged, watchers eyes would glaze and they’d loose contact with on stage happenings.
In fact a lighting plot is a living “thing” which can make or break a show. It takes experience and team work to make it work.
Said Abrahams “during my nearly 30 years with Artscape (formerly CAPAB) what I have learnt most is... patience. We work with many different directors/choreographers. Some come to the theatre more “clued up” than others concerning atmospheres they want. Others are unsure. That’s when I need patience with a capital ‘P’ as we try out this or that combination.
Then,” joked Abrahams “when Karriem Petersen comes into the picture I need an extra dose! Petersen – technical stage assistant presently in charge of sets and hanging cloths – and I have many a ding dong.”
“He’s very fussy about how his cloths and sets should catch light, often wanting lights to fall in a different way to what I see. That’s when we end up having a bit of a ‘barney’. Eventually we compromise, take breather over a coffee and make up... until next time!”
Abrahams, a matriculant from Bishop Lavis Senior Secondary in 1989, knew Charles Petersen (Cape Town City Ballet’s set co-ordinator) and through him learnt the ballet company needed a helping hand backstage.
“I had only been there a month when John Baker – head of CAPAB lighting – approached me about joining him as a lighting apprentice... an opportunity I never dreamed could happen.
I began as a follow-spotter which meant moving lighting stands around to designated positions. It’s thanks to John and Malcolm Hurrell that I learnt my trade and got enough experience to design my own plots.”
Abrahams’s first “solo” took place in Bloemfontein’s Sand du Plessis’s Theatre when he relit Veronica Paeper’s Romeo & Juliet three-act ballet.
This required him to match Baker’s original plan to that theatre’s lights. Not an easy task. Yet shortly thereafter Abrahams started crafting his own plots.
“With the introduction of intelligent lighting, plotting has become very exciting. Previously, lights hung from bars, had fixed “jellies” (colours) and pretty-well static. Intelligent lighting changed that.
They can alter colours, move, swing and produce gobos (floor patterns). Their variety is endless.”
How does he know when its time to change scenes?
“Obviously lengthy discussions take place between all interested parties — director, choreographer, set and costume designer etc. Once agreement is reached each section is cued into a computer. However cuing isn’t automatic. Someone (usually me) stays for every performance in the lighting box waiting to press the buttons on schedule.”
“Over the years I’ve learnt ballet movements, so know when it’s time to go. Believe me it takes concentration. Particularly when it is a ballet I love like Swan Lake I need to be careful not to become too engrossed and forget my cues.”
“Fortunately that’s never happened. When it comes to opera a stage manager sits with a score to cue me in 10 seconds before needed. Timing is as important as timing for performers.”
Cape Town City Ballet recently presented Night & Day in Artscape’s theatre. This ballet, based on Cole Porter’s music, was planned to launch Maynardville’s open-air theatre last Sunday – but unfortunately got rained out.
So I asked Abrahams what lighting differences there would be? “Quite a lot” he grins. “In the theatre its fun juggling intelligent lighting to suit the ballet. Apart from Maynardville’s Open-Air Theatre lights being rather basic – either tucked into shrubbery, perched in trees or on four poles – lights are placed to suit Artscape’s annual major Shakespeare presentation.”
“This year its Shakespeare’s great drama Othello– a dark scenario. As CTCB only performs on Sundays there is little we can alter except the jellies. That’s when I have to use my intelligence to meet that challenge. I love every moment.”
Cape Town City Ballet presents Night & Day at the Maynardville Open-Air Theatre on Sundays until February 21 at 8.15pm.
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