Open Forum

Does he get paid by the job or hourly? Could mean extra income for him.

Typically your venue should have a stock lighting plot of where the lights are normally set. There should be a stipulation that the stock plot is available for use, if changes are required then the group requiring the changes shall move and restore the lights when using the space and any changes should be at the expense of the renting entity. You can provide some additional fixtures into the plot to allow for specials that are movable per performance, they should be pointed down when not in use.

How long is a piece of string?

It depends!

Same with lights - so long as you have a big enough rig, then the ideal is a set wash plot along with enough "specials" to cover most other needs.

Like Jerry, I like the idea of having a generic plot that always goes back in place after any event that changes the plot.  In venues I have managed, the basic lighting plot was a no cost add-on, any changes incurred costs associated with the time and effort required to meet the clients expectations, and then return the plot to "default".

You cannot really dictate to other groups who have equal rights to the space that your "artistic" vision places limits on their "artistic" vision.  The choir has the same rights to light their performance as does the theatre or band or debate club.

The "hired" tech, should however return the rig to some standard after each show (preferably immediately).

Hi,

We have a rep plot that we use as a basis for everything. I simply change the color based on the show. We have another set of lights that I use for specials and other ancillary lighting. When the show ends, we strike the extra and go back to the rep plot.

No headaches, regardless of who is designing.

Hi,

The rep plots that Jerry and Crit mentioned are a very reliable way to go. Obviously some shows may need 

very production specific designs that will go beyond the rep plot but it can always start as the basis of most designs.

Returning lights to this static plot is just part of the work of the crew. 

Dance, concerts, convocations are a part of a facilities life and our ability to meet their peculiar needs is a great and worthwhile challenge for our student crews. And,  returning lights to this static plot is just part of the work of the crew. 

I have an article on rep plots coming out this winter in "Teaching Theatre". Perhaps it will be of assistance.

Thanks,

Dana

Goodness me! You – and everyone who has responded so far – are absolutely correct! So I’m probably preaching to the choir when I quote the intro in my book about high school lighting rep plots, but here’s some more fuel for your fire: “Although every event that comes into a theatre is unique, there is a way to provide a lighting system that can easily be applied to many uses of the space with only small adjustments that need to be made for specific requirements of a show or event. This is called a Rep Plot (short for Repertory Plot). A Rep Plot is a standardized lighting system, which is versatile for almost all performances and can be easily adapted to provide lighting for any event from class meetings, speakers, film presentations, variety shows, band and choir concerts to plays, musicals and dance recitals, while allowing for show-specific flexibility within a reasonable time frame. A light plot could be designed from scratch for every specific show or event in your high school theatre if you really want, but a lighting plot that is re-designed over and over again is more suited to the university level, where all the students are learning lighting as a vocational choice, and where it is necessary to start each lighting design “from scratch” as a part of the curriculum.”

And, as a few people also noted, if the rep plot is adapted for an event (which is normal – and the purpose of having a rep plot), it must be changed back to rep immediately after an event, and outside events should get charged for the time it takes to do that. That said, the event people should not restore the rep plot (because they won’t do it right, or want to take the time), the theatre staff should take care of it.

Which brings up another point in your post. We are all jealous of you that your district has the sense to hire someone to ‘manage’ (probably more like a TD?) your theatre! That’s a step in the right direction. But money would be better spent if they were to hire this person as a staff Theatre Manager, and also hire some professional overhire technicians. For a variety of reasons, but mostly because Dept of L&I states that no minors shall be doing manual labor (such as using ‘hoisting’ equipment – as they put it – working at heights, working with electricity, and so on) unless the minor is in a bona fide vocational program. A staff Theatre Manager and technicians can mentor the students. Or another option is to hire the students. That way they become employees and then fall under OSHA laws. It’s also easier to convince students – and their parents! – to turn up to calls if they’re paid. 

Best of luck,

Beth

Several of the posts have alluded to having the groups using the theater make changes to the Rep Plot by re-hanging or re-focusing different parts of it. I don't think that is a good idea. If any changes need to happen, as they inevitably will, it should be the Tech Crew that makes those changes, under the supervision of a Qualified Technician. The members of the outside groups have likely not been trained to work with Theatrical Lighting Equipment, and we are all very aware of how dangerous it can be to work in a Theater. Having those members up on ladders, in the catwalks, or working a counterweight rigging system is a safety and liability issue.