Photo Gallery Archive THEATRICAL PRODUCTIONS 2015 through 2016 Lighted By RICHARD BONNER

(Reverse chronological order is employed so that photos
of the most recent events will be displayed first.)

Bugsy Malone
Gorsebrook Players
Gorsebrook School
Halifax, NS
2016. June

(All fresnels are 150mm and have
barndoors. All Ellipsoidals are 150mm.)

This scene on the thrust stage uses two 500-watt, 35-degree ellipsoidals in open white (no gel) from the near Front of House (FOH).

FOH PARs cast a warm wash on the speakeasy nightclub. The camera's white balance was incorrect, making the colours appear to be much warmer than they were in person. Backlighting comes from the Upstage corners via two 300-watt PAR 56 fixtures in a Flesh gel.

Only a single 35-degree ellipsoidal lights Blousey, while one 300-watt PAR 56 each backlights a table in Steel Blue for this quiet number.

Here is a another view of the above set with the FOH Warm wash, but with a Steel Blue wash from the PAR 56s in the Upstage corners.

This closer view shows the effect of the corner wash on the Downstage area. It adds perspective to the objects on the table, and also give a rounded, three-dimensional look to the seated actor.

Seen here is a Medium Blue wash from the FOH PAR 64s and from one 500-watt Fresnel on each side of the thrust stage in the same colour. A 35-degree ellipsoidal spots the table and area in open white.

Only the far FOH Warm wash is used here, plus a near FOH center ellipsoidal for the singer. She eventually dances in this number across the Downstage, so one ellipsoidal on either side of center is on at a lower intensity, but their effect is not easily discerned in this shot.

FOH Warm and Flesh washes give lots of intensity for this production number. The Upstage corner PAR 56s and thrust stage Fresnels provide Steel Blue back and side washes.

Makeup, Tights and
Everything Nice
Spartan Players
Dartmouth High School
Dartmouth, NS
2016, May

(All lights are 500 watts unless indicated.
All fresnels are 150mm and have barndoors.
Others fixtures are as indicated.)

This scene uses a 19-degree ellipsoidal with Colour Correction (CC) Orange gel from the far Front of House (FOH) pipe to light the thrust stage actors. Two more light the floor on either side of the thrust. Side lighting comes from one PAR 64 Medium Flood above and to each side of the thrust, as seen at the top of the photo. Open white (no gel) lights the stairs from the near (FOH) pipe using Narrow Spot, PAR 64s. On stage, the tables have breakups projected by 35-degree ellipsoidals, two for each side. These have CC Blue gels. Two no-gel fresnels light the upstage area in front of the bandstand from almost above. The band itself and the rear curtain are lit with Medium Blue from a PAR 56 Medium Flood on each side of the rear pipe.

FOH 1000-watt, Wide Flood PARs cast a Red wash on the nightclub. In addition, one 600-watt, PAR 64 Raylight on each side of the rear pipe casts Deep Orange beams along the rear curtain. The thrust stage is lit as above.

This closeup shows the breakup patterns on the cabaret table area. Lavender fill from Stage Left (your right) comes from two Medium Flood PAR 64s. The only other lighting on the rear curtain from one of the Blue PAR 56s.

Another closeup shows the thrust stage lit from the FOH as before. Additionallly, two Fresnels on the near FOH pipe provide top lighting in CC Orange. On stage, the center area is in open white from the near (FOH) pipe using two 200mm, 17-degree Ellipsoidals. The table is cross lit from Stage Right in Lavender, while the band has the same Blue as before.

Lighting is as in the previous scene, except that the line of dancers on the stage apron has two PAR 64 Medium Floods from a pipe in front of the proscenium curtain. These have CC orange gels. The stair specials and floor lighting are also being used here. On the rear curtain, this time, is a Lavender from PAR 64 Raylights on the Upstage pipe.

Seen here is the Centre Stage lighting from the near FOH and the side Lavenders on the tables. Also here is a dual Fresnel wash in Flesh on the bandstand from the Center-Stage pipe. This is located just Down Stage of the boxes on which `Mama' stands. On the curtain are Blue PAR 56s and Pink Raylights -- all from the Upstage pipe.

The cast takes its bows with a Red FOH, Wide Flood PAR wash, two 17-degree ellipsoidals for the center, Blue and Turquoise curtain lighting. The latter comes from another set of Raylights. Not seen in this photo spread until now are the effect of three 400-watt Fresnels with Yellow gels for backlighting the main stage. These are on the Upstage pipe.

Mary Poppins
Halifax West Players
Bella Rose Arts Centre
Halifax, NS
2016, May

(All fixtures are 1000 watts, unless noted.
All fresnels are 150mm and have
barndoors. All Ellipsoidals are 150mm.)

The household interior is washed from Front of House (FOH) using two PAR 64 Wide Floods with a Colour Correction Orange (CCO) gel. In addition, there is a Fresnel on the mid-stage pipe specifically lighting the top stair landing. It provides highlighting of that area but is gelled in CCO so as to blend with the FOH CCO wash as necessary. A PAR 64 Wide Flood casts a Colour Correction Blue (CCB) down the stairs and along its wall to represent daylight coming from an unseen upstairs skylight. It is on the mid-stage pipe slightly to your right of the bottom step. Barndoors are used to achieve the sharp cutoff seen above the paintings. The "hallway" behind the door is lit by an ungelled PAR 38 fixture using an 150-watt R-40 lamp for spread and softness. Top lighting comes from four Fresnels in CCO gel from the mid-stage pipe.

The bedroom look for day time is washed from the FOH PARs using a CCB gel. Warmth is added by a single Fresnel with a CCO filter from the proscenium pipe. A side Lavender produces contrast, and is achieved via two Fresnels positioned on the mid-stage pipe directly Stage Right (your left) of the bedroom set. (Its effect is most evident on the right side of Mary's face.) The Window projection from a single 23-degree ellipsoidal has a CCB filter to represent daylight streaming in from an unseen window.

Here, the bedroom is illuminated as above, but the Window pattern is replaced by Breakups on the walls from two 37-Degree Ellipsoidals. These represent a time change to later in the evening.

Simplicity is seen here with a single 37-degree Ellipsoidal downlighting the statues in open white (no gel), and a Medium Blue from two proscenium pipe PAR 64 Wide Floods gives a bit of colour to the background city-scape flats. Bert is illuminated from two FOH 37-Degree Ellipsoidals in a Straw tint.

Only two fixtures light this scene. One Fresnel in CCO on the proscenium pipe lights the actors from the front right; another provides backlight in Steel Blue from the mid-stage pipe skimming over top of the flat behind. (The Orange is exaggerated here due to the camera's white balance being mis-set.)

Lighting is as above, but added are FOH PAR 64 Wide Flood and Proscenium Medium Blues (four in total), coupled with slightly lighter Blue top washes on the dancers from three Fresnels located above them on the mid-stage pipe. The Pit Band is illuminated in warm lighting due to the music stand lights bouncing light from their score sheets.

Lighting here is Breakups on the rear wall (as seen before), a hint of side Lavender on the children, and projected Bars on the dolls and Mary. The latter are from one 37-Degree and two 23-degree Ellipsoidals -- all on the proscenium pipe so as to provide acute downward and sideways angles.

Only one theatre light is used here; it's a 19-Degree Ellipsoidal from a high-angle FOH position in open white. The "stars" are represented by actors shining hand-held flashlights toward the audience from various positions around and above their bodies. As before, the Pit Band glow is reflected light due to their music stand lights.

The actors are illuminated by the FOH CCO and CCB PARS. Additional intensity comes from Straw-gelled 26- and 37-degree FOH Ellipsoidals, especially to highlight Downstage Centre. Back lighting come from four mid-stage Fresnels behind in CCO and from PAR 64 Medium Floods in Slate Blue. The latter are two in each Upstage corner. The curtain lighting uses two Medium Blue, Wide Flood PARS, plus three Cloud patterns from 37-Degree Ellipsoidals -- all from the proscenium pipe.

Grease
Bicentennial Players
Keating Hall
Dartmouth, NS
2016, May

(All lights are 500 watts except as noted.
All fresnels have barndoors.)

This represents various locations in the town. The Radio Announcer is illuminated by a single front-of-house (FOH) PAR 64 Medium Flood which also covers the gang members' location in behind. Other groups are lit from an on-stage pipe by four 150mm ellipsoidals with breakups and Colour Correction Blue gels. A slight FOH wash from two 1000-watt, PAR 64 Wide Floods in a Straw gel brings out the other actors' faces.

This employs the FOH Straw wash while side light comes from four PAR 64 Medium Floods in a Lavender gel. The car is a golf cart with added 1950s-style car panels. Its headlights are LEDs powered by the cart's battery.

The bedroom is illuminated by two FOH Wide Floods in Medium Blue and slightly lightened by two more in Straw. The centre area is highlighted by two, 200mm ellipsoidals in open white (no gel).

The main stage is lit by the FOH Straw Wash, and centre via the 200mm ellipsoidals. The bandstand gets its light from fixtures on a pipe above and slightly downstage. It has two 150mm fresnels in an Orange gel for this look.

Here, the singer is spotted via the 200mm ellipsoidals with her surroundings generally lit from the FOH Blue Wash. The streaks of brighter Blue, as seen on the rear curtain and musicians, come from two PAR 56 lights positioned one each above and well to the side of the band, but right in front of the curtain.

The FOH Straw Wash, side Lavenders and Blue PAR 56s on the curtain provide full-stage illumination for the large cast. The 200mm ellipsoidals hightlight the "Rydell High School" lectern and back panel.