Lemons is a very busy play, consisting of around eighty very short individual scenes within the forty-five minute piece, constantly switching between locations and timelines. The main focus of the design was to distinguish between the two main timelines - before and after a dystopian law limiting the amount of words humans can say in a day was passed. We initially considered switching between warm and cold lighting, but eventually decided we wanted the change to be more subtle, and were limited by lantern stock anyway. Instead, we used an LED backlight which switched from being in LEE764  (along with the rest of the area cover) in the timeline before the law to  being in a more dystopian purple (somewhat similar to LEE508) in the scenes set after the law was passed. The result was enough an unsettling shift in atmosphere to compliment the scene without being too blatant. It also meant that in the scene during which the law is actually passed, a fade time of about 2 minutes on the LEDs' colour allowed us to visually transition into the dystopian future as the proposed law becomes reality. Aside from that, I attempted to make the lighting to seem as close as possible to a house interior, in-keeping with the naturalist set. A three point area cover using (roughly) a 120 degree rule was put in place for each of the four main acting areas (each a room in its own right) and complimented by decorative lights such as a practical lamp or floods focussed on the back wall to give the impression of an interior lamp; the effect of the latter was inspired by Georg Friedrich Kersting's 'Young woman sewing in the light of a lamp', pictured below. Other moments included a forest scene for which there was no set, and so green gobos projected onto the back wall sought to give the impression of trees, whilst a breakup gobo in a profile worked brilliantly in the haze to suggest sunlight breaking through the trees. In hindsight, a much wider angle profile would've worked better, and ideally working as a backlight for the actors, but again I was limited by lantern stock and the intimate space creating spill onto the audience. The most effective moment by far, however, was a scene in which the two actors turn a TV on and off - a profile in LEE202, bladed square, on an H stand down stage centre, and with a subtle flicker effect on gave this impression incredibly well, and cast a striking shadow.


'Will Hayman's lighting design compliments the action of the play'



Production by Dromadaire Productions


Director - Ksenia Dugaeva

Costume and Set Design - Kat Cooper


Photographs by Oliver Garrett

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