oh rio, rio...
Hmm, it would appear that I'm being sent to Brazil. This, whilst on the face of it is a very attractive proposition, has its down side, I have to relight a show that I haven't seen, and which is very poorly documented.So far I have been sent a series of useful images, these include: a pushchair, cheerleaders pompoms, a typing chair, a mixing desk, a smoke machine... and before this turns into the generation game, this is the information pack sent out to foreign venues.
Unfortunately I have come to realise that my predecessor didn't quite grasp the sacred trust that the relighter holds, and if in doubt made it up, this became apparent (I hope you noticed the adroit way with which I've avoided using the possible cliche 'came to light') when I was trying to reconstruct a different show in Berlin in the presence of the original lighting designer. 'I'm sure that's not right' he was prone to say, whilst ruffling frantically through his files. My difficulty was always that all I had to work from was the touring paperwork, and it was increasingly evident that this was a work of convenient fiction. The show I'm relighting is called 'bloody mess', and I suspect that the paperwork will be in a similar state.
There are two philosophies here, one, which is mine, is that you document effectively, do your best to recreate the designers' wishes and produce paperwork that would at least make it possible for someone to shove the show onto a stage if you were to be run over by a bus. The alternative, which I think I have encountered here, is to make yourself indispensibly attached to a show by retaining documentation, and vital information. This only works if you don't get a fulltime job somewhere else, and make yourself unavailable, ho hum.
posted by Lampy @ 8/11/2006 10:29:00 pm
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