Before the Gig
Before the gig started, Heath Marrinan (the LD) and I chatted only a few times about the show. This was because he was busy with a different production and I was travelling internationally for another event too. He did send me the plot, paperwork and as much information as possible. I spent time on my long flights trying to understand as much of the gig as possible. It all looked pretty straightforward with multiple on-stage lighting positions, a few floor fixtures and additional lighting positions in the house. He also sent a very busy looking schedule for the days of the gig.
The plan was straightforward; Heath was going to be at the venue from load in until the afternoon of the first show day (Friday). He would oversee the load in, get the rig focused, and ensure the patch and console was ready to go. I would then arrive on Thursday at noon and program the looks and prepare for rehearsals and then run the show. We discussed the console configuration, and I told Heath to just set up the desk using his normal routine. I would then change anything if needed. Knowing that the show file would likely be used again for another event, I did not want to alter it too far from his normal style.
Starting with a Bang
I arrived a bit before my call time on Thursday and Heath met me at the loading dock door. We chatted about family and caught up a bit as we walked out to FOH. Upon arriving at the desks, he told me a little bit about the show and walked me through his views and console setup.
The show involved 20 different scenes in addition to the usual corporate event speeches and awards. Each scene took place in a different location and time period with a unique set. The stage crew was busy cycling through the sets, leaving only a short amount of time for lighting of each. Heath had programmed the first two scenes, but the rest were up to me. Within just a few minutes of walking into the venue, I was creating positions on the desk and programming looks. It was pretty wild to walk right into a venue and sit down to start programming.
As soon as I had programmed the looks for the current scene, Heath called to the stage to have them set up the next one. After just a few hours of this, the client was on stage, rehearsing, as I continued to edit and adjust the looks accordingly.
The Next Day
The next morning, we started again, creating looks for some of the sets that were not seen the day before. Slowly, the show flow was coming together, with the usual bit of pre-show chaos as the client made changes and added more bits. I busily programmed more into the desk and also created my layout for running the show. I had to have the usual complement of sliders for conventionals as well as audience lights, ballyhoos, specials and more. Before long, it was 3 p.m., and Heath had to leave to catch his flight. The next thing I knew, it was 6 p.m. and the doors were open. As the audience poured into the venue, I took a moment to breathe and to finalize the preparations for the show.
For that evening and the next two days, I ran the show and continued to modify looks as needed. We never had a chance to rehearse two of the scenes, so they required lots of live manipulation as they played out on stage. Luckily, I had prepared for this, and was ready with a selection of premade position and color palettes/presets as well as an understanding of console tools that enabled me to fade changes in and out of the live look on stage. The client was extremely happy, and Heath and his design company looked great and secured a client for years to come.
Making it Happen
The reason for the above story is simple: to illustrate why an automated lighting programmer must always be ready for the unexpected. Not every gig starts off with you preparing the show file, getting the time you need, and having everything run as planned. You must understand the time available and the work that is required. If Heath and I had socialized for a bit on my arrival, we would have lost valuable time in preparing for the show. We did find time later to catch up further, but we both knew the primary task at hand was the most important.
Furthermore, I looked at the required work and prioritized what needed to be done. This knowledge was only available to me due to my past experience with similar events. I made the choice to concentrate on the scenes and to put off programming all the “other” bits until later. I knew what it would take for me to create the operating layout and what I needed to build to cover anything that happened on stage or in the house. When appropriate, I spent the time to build these elements without jeopardizing the most important scenes. This allowed me to be ready when the client wanted to rehearse and not have them waiting for lighting.
Integrity Is Key
Heath hired me because he knew that I would come right in and get the job done. He knew that I would give it my all and represent him and his company in the most professional manner. He also knew that I was there for him and was not looking to steal his gig. He could trust that I only wanted the best for his client and would put in the time and effort to do so. Unfortunately, there are programmers out there who do not have a similar work ethic, and they can wreak havoc for an LD. You should always work with integrity and focus your efforts on making the show look the best it can.
In the End
The weekend gig was a success. Everyone on the production had fun, and we presented the client and the audience with an amazing show. Although it felt like I never stopped from the moment I walked into the venue until the gig was over four days later, I would do it again in a heartbeat. Programming and operating shows is a way of life, and if you give it your all, you too can have fun while working hard. Just remember to always be prepared for the unexpected and ensure you understand the time limitations as well as the priorities of the production. Every gig gives you experience and knowledge to prepare you for your next show, so never stop working and you will never stop learning
