THE REUNION (?)
The lighting for The Reunion was incredibly basic yet incredibly effective. The entire play is one scene, set in a dodgy funeral parlour. Almost the entire play was lit with 6 fresnels gelled in LEE202 (channels 1 through 6 on the plan), the intensities of which were gradually shifted around to create an effect resonant of Rembrandt's 'The Risen Christ', pictured below, in which half of the face is lit, and half is dark. The result was a very eery, gloomy atmosphere which fit the dark tone of the play perfectly. In addition to these fill lights, two profiles with window gobos (channel 24) acted as keylights, giving the impression of light leaking in through a pavement level window, and a flood directly above the table on which the cadaver lay created the clinical, laboratory-esque atmosphere that the play required. Nevertheless, the script still necessitated some more intricate moments of lighting design. The play was very much a comical farce, and so any lighting effects were very obvious and meta-theatrical. A crisp spotlight was repeatedly used for characters' soliloquys, whilst LEDs in what only can be described as Frankenstein green leaked into the scene during a particular experiment section. The most intricate part of the show required individual spotlights on a row of five characters stood closely together behind the operating table, as the detective monologues his 'whodunit' revelations. To save on lanterns and dimmer circuits, this was achieved with a small mover (channel 38 on the plan) and very precise spikes for the actors to stand on each night. The other mover was used only for the preset pictured below, but in a breakup gobo with the haze, it set the perfect atmosphere of death, the surreal, and meta-theatre as the audience entered. This play was in repertoire with Lemons, and so the lanterns on the plan I haven't discussed were used for that show. The show budget also sadly did not stretch to production photographs, but the fondness I have for this design lives on in memory and through the reviews.
'The [...] lighting of the stage is flawlessly executed. [...] Will Hayman [...] is clearly adept at his job'
'Monologues were underpinned by dramatic lighting [...] thanks to Will Hayman’s work on lighting design'
'Each seemed to outdo the last in caricature and melodrama, aided by some suitably dramatic lighting [...] from Will Hayman'
Production by The Oxford Revue
Writers and Directors - Tommy Hurst and Bernard Visser
Photographs crudely taken on my phone!