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By Pat Cook

Brownville Village Theatre Season 59

Director: Lizzy Pegler

Costumes Design: Jack Danter

Hair/Wig/Makeup: Rachel Kay Curtiss​

Set Design: Mitchell Bean

Sound Design: Parker Shinn

Props Design: BVT Prop Team

Stage Manager: Parker Shinn​

Photos: Jayce O'Quinn

Light Design: Theresa Gygi

Two Witches,
No Waiting

REsearch/Paper Work

As with all of my work for the Brownville Village Theatre, because the season ran as rotating rep the lights positions/gels couldn't be tailored for one production. All of the focusing had to work for each production because there wasn't enough time in between some shows to change a whole lot. Picking a basic warm/cool gel for each of the lights and then worrying about specials and which show was using them was the biggest challenge I had to overcome. 
For Two Witches, No Waiting the disco ball had to be hung before every performance and taken down after every show because of it's position so it wasn't a distraction during other shows. That being said, the light focused to the disco ball had to be re-circuited every performance because that same circuit housed a lightning gobo special for Beware the House on Haunted Hill!
These small changes were able to be made quickly and efficiently by myself as well as other special lights that were hung on the set. For Two Witches, there were two 6" Fresnels focused to the masking behind doors (which are seen below) to give them a little more life and highlight actors going in and out of the door. The magic lamp was operated backstage (by myself!) and timed whenever the characters would turn it on or off with a wave of their hand.

Cue Sheet

Boards: Elation Stage Setter 24 and ROCKFORCE 192

LED/Specials Focus Points

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90's Sitcom/Y2K/Magic

There is an element of magic in this piece. The direction was to lean into the 90's sitcom style of comedy in the script and over-exaggerate the magical elements caused by the two sisters. From having a crew member operate the magic lamp back stage, to having two lights set to illuminate Elzbeth's "magic room" there was a lot of creative freedom to interpret how the magic is being perceived by the audience vs. the characters onstage.  

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Transitions gave me a lot to play with. using the LED fixtures there was a wash of purple, pink, green or rainbow lights. The disco ball was added to at 2 transitions after being introduced whenever Elzbeth would open her door.

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The over-exaggerated color and saturation of the lights in 90's style sitcoms is exactly what I was going for when lighting each of the characters. Making sure it wasn't distracting was also key. The costumes really helped in this aspect where instead of washing out the actors, it gave them a dewey effect.

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