Case Study: How I lit Sweeney Todd at a major New York regional
theater with a strict repertory plot and a limited budget (of course!). Scroll down for photos and descriptions.
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Just like the recurring motifs of Sondheim's lyrical score, the lighting follows logical patterns and motifs of its own. You will see recurring use of semi-realistic projections of cobblestones and leaf breakups, which I used to suggest certain emotions and predictions throughout the show.
To the left, you will see a variation of the opening sequence when we are
introduced to Sweeney Todd. Key elements of this shot:
A
stark, clear front light pierces through many of the specifically-placed color
specials, as seen here in "No Place Like London" in the first act. The key
idea is to use the amber shift of the stark white light to your advantage.
Major elements of this shot:
Another
good example of the stark, dreary cobblestones in a foreboding situation.
Swing your razor high, Sweeney! Of course, this was much more effective when
the rest of the stage went black in a crash and this came up instantly,
revealing the cast in white-toned makeup singing at the top of their lungs!
The
Tonsorial Parlor above the Pie Shop featured sunlight coming through the
imaginary windows near the chest. Actors used the top of the box on many
occasions. Eerie sunlight consisting of stark white ellipsoidal light and dichroic yellows from the top-right color changers helped paint both natural
and unnatural moods on the actors and bare walls of the barber shop.
"Kiss
Me" - a warmer, more traditional feel with reds and blues that don't quite
overlap. This fairytale-like scene required something more imaginative and
happy. Notice the very, very low level on the cobblestones for texture. You
will find the following colors in this picture:
Trust
Pirelli's Miracle Elixir! A rare bright scene in outdoor London, making use of
area lighting without much flair. Notice the extreme contrast to the previous
pictures. Audiences can't stand too much of one thing for too long! Sometimes
simpler is better, and this is a good example.
Green
Finch and Linnet Bird, how is it you sing? This song was the most annoying to
light. "Why, you may ask?" (what is this, Fiddler?) Very simple: this
song was very annoying to listen to and then got stuck in my head. Somehow I
still felt bad every time that little bird was put out of its misery. This
scene was very simple, with light blues and special lavenders complementing
the texture and bringing out Johanna's "white muslin gown".
"Ladies
in their Sensitivities" - at this point, the Judge and Beadle have moved in
front of the shop as they sing in the quartet... "his name is Todd... Sweeney
Todd." The picture above with Johanna is similar to the look on the other side
of the stage at this point, where Johanna and Anthony are happily singing to
each other. Stage left (pictured here) used the following colors:
"It
seems a downright shame!" This was a change on the typical warmer lighting of
the Pie Shop, as seen in the next photo. The conniving Mr. Lovett gets a
brilliant idea of entrepreneurship and we need to see a hint of the parlor
above, to which she refers several times.
The
more typical view into Mrs. Lovett's pie shop in the evening. The camera did
not adequately capture the warmness of this scene in the second act, when Mrs.
Lovett's dress and attitude are both warmer as well. Here she tells of her
dream of living "By the Sea".
Note
the introduction of a golden amber key light on Mrs. Lovett as Sweeney
prepares for his evil deeds in the Tonsorial Parlor. This shows the very
distinct separation between the characters' frames of mind at this point. The
love for Sweeney is growing with the golden shade of Nellie.
A
more relaxed feel in Mrs. Lovett's Pie Shop as Tobias sings her a sweet song
of protection. This type of familiar lighting relaxes the audience as well,
right before we must drastically alter the feel of the show.
This shadowy quintet
at left sang a bit quieter here as they moved the story forward to its
more gory end. I only used:
At right, a great shot of the London street in the middle of a dreamy
sequence. Lots of texture and amber-shifted whites fill the stage with an
exciting look.
"Rest
now my friends." Back up in the Tonsorial Parlor, we see Sweeney in the
subtle window light, with the chair illuminated in a diffused red and straw.
His last customer has just gone down the chute under his knees. This chute
was lit by a strong straw light when opened. Notice the difference from Act
One, as seen on the right.
