Have I mentioned recently how much I LOVE my job? Today we began programming the lighting for the concert being held next weekend. I will be stage managing Dancers' Company this semester, so my career with BYU Dance began and ended with Dancers' Company. Since they are a contemporary dance team, the dances do seem quite unique due to their modern qualities. There are some that are too abstract to make much sense to an audience coming for entertainment. I quite enjoy critiquing those overly unique numbers (but they are mainly found in showcase numbers).
With these crazy and fun numbers that modern does, it give a lot more freedom in the lighting design. I are able to go everywhere: use every texture, projection, and color. It's great! Costuming and props are a lot of fun in these numbers. With our new director, Pat Debenham, we know the dances are fun and unique. I simply love the music!! Some can be recognized from movie soundtracks while others are interesting combinations of vocals and folk instruments.
Some of the numbers that will appear in this year's concert is "Where Light is Made to Travel" (music from Series of Unfortunate Events), "Pilgramage" (Neil Diamond), and "Rejoice in the Lord" (Handel's Messiah).
From September 2009 to March 2011, I will be posting to my other blog. For those who want to follow my mission experiences in Florida Fort Lauderdale, please go to:
dancetechinservice.blogspot.com
Friday, January 23, 2009
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Stagehands have astonishing learning curves. It's not unusual for stage crews to have trucks full of unknown scenery arrive at a theatre on Monday, which we need to assemble and understand to open a show we've never seen before... on Tuesday night.
Most people, if confronted with such a task, would flatly say it was impossible.
Stagehands find ways to make it possible. We learn quickly, we draw upon years of experience, skills and training, and (all too often) we drink lots of coffee and work all night.
I've had one longstanding handicap in my career as a stagehand. I don't drink coffee.
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