I like to think of myself as some of the Scotch tape that holds things together – I’m very handy to have around. But all that actors really need is a bare stage. Lighting is just one of the luxuries of the theater.
Starting Theatrical: Backstage
Everybody back from intermission? The House Manager says that the audience is back in.
I see a bunch of musicians in the pit. Dave? Got a bunch of swans back there? Good.
House to Half: Go
Let’s let the First Chair tune the orchestra.
Follow One, pick up the conductor when you see him. He’ll enter in the pit from House Right. Carry him to the podium, he’ll probably bow.
Judi, tell me you have the conductor; last night he wandered off and got lost in the trap room. Good.
Okay, they are tuned.
Send out the conductor.
Lights 67: Go
Backstage worklights: Out
Alright, he’s almost done. Don’t milk it, dude.
House Out: Go
‘k guys, after the show, the first round is on me.
Cue the conductor and curtain: Go
Standby Scrim out. I’ll want it nice and even, just listen to the music.
Lights 68: Go
15, 14, 13, 12, a little slower. Good, looks great.
Dang, look at all that fog filling up the orchestra pit. It’s great.
Lights 69: Go
Follow One, SHE will be entering Stage Left N-1. Pick HER up when you see HER. I want a nice soft light, let’s make the designers look good.
Follow Two, the prince will enter Stage Right N-3. Same thing, nice and soft.
Dang, yer a Rembrandt with that light.
Alright, when they get together, Follow One tighten up from waist up on the couple, Follow Two, widen to hold them both. I know, Follow One, I’d like to see you fade into a nice healthy pink too, but they don’t pay us the big bucks.
Lights 70: Go
N-1 is the opening between wing one and two, N-2 is the opening between wing two and three, and so on. It is rarely used in the theater except for calling followspots for traditional ballet which can have many entrances and exits. This is so the followpot guys can be ready for the entrance and not chase them or be late.