How to light a production well, or at least better than you first thought was possible!

One of my students at Chico asked me as I left what advice I had for him, I repeat here some of what I said and add the reminders I go through myself when I need inspiration to light a production well (not that I always keep to them of course as time encroaches on designs).

1. First do your own research, form your own ideas, decide what you like and dislike about the script / libretto / music / choreography. Collect photos, poems, analogies, stories, memories which can help communicate your ideas. Write it down.
2. Talk to as many people about the design as early as possible - be in on the costume and set design process if possible, pick the directors brains as to what he/she believe is needed, understand where they are getting their ideas, and feed in your own ideas. Revise your original thoughts.
3. Work particularly with the set designer, TD, carpenters and electricians to put lights in interesting places on or in the set.
4. Check that you have the space and angles in the grid or flys to achieve what you want, get in early to claim as much as you can. Insist on a good section of the space and set (on one sheet).
5. Build a concept for the lighting and stick to it.
6. Check what the possibilities are with equipment, time and hire budget. Don't overdo it - KISS - the more lights your have or the more moving lights the more time it will take, you have to finish the show and better to do so with style. Look for simple things which will enhance, add effect, work with your concept etc.
7. Despite what I say above it will probably be a scramble at the end and you will be wanting to redo the end result, you will probably say at one stage "why do I do this?". Try to remember the joys, not be too much of a perfectionist while accepting the praise and thanks.
8. When designing the plot know the rules and angles but don't be afraid to throw them out as well. Think of non standard positions and lights, it will add variety. As time goes on I am more and more convinced that McCandless has stifled too much creativity in North America.
9. Take a pride in all the work you do. Paperwork should be your own style but to a professional standard. Be willing to revise it. That extra time you save may be more important to be doing notes, cuing or focusing.
10. Colour is always the hardest decision, make it early but consider your concept, the costumes, the set etc. Be prepared to change it, its one of the easiest things to change. For general acting light go lighter than you think, for mood etc, think darker IF you have the instruments to put them in, otherwise maybe open white (?).
11. Have clear before you write the cue what all factors affecting that cue are, talk through the cues with the stage manager and director ideally. See as many rehearsals as possible. If its not clear do a time line, graph of how bright the scenes are, separate concept diagrams / descriptions for each act etc.
12. Be adventurous in how you cue or colour the show, do you need it be the same colour palette each side?, need there be even light from one or two of the angles?. Don't loose sight of visibility as being important but sometimes mood can take over so long as the director buys it.
13. Archive the show for your portfolio or should you need to do it again.