Working from home? Switch to the DIGITAL edition of Stage Directions. CLICK HERE to signup now!
Generic selectors
Exact matches only
Search in title
Search in content
Search in posts
Search in pages

LD Adam King Lights Guys and Dolls at Mountview

Stage Directions • Industry News • June 12, 2020

The Frank Loesser musical Guys and Dolls looks at the edgy underworld life of old New York. The rich and supple Damon Runyon-inspired dialogue, colorfully jumbled mix of good and evil forces, and evocative portrayals of the Manhattan streets and Havana clubs that run through the play provide fertile ground for a theater artists’ talent to flourish.

The same factors also make Guys and Dolls a creative dream-come-true for lighting designers. Mountview Academy of Theatre Arts is a drama school London, England that recently staged Guys and Dolls. Mountview alum Adam King demonstrated this in a colorfully convincing fashion just before the COVID-lockdown put a temporary halt to live theatrical performances, when he lit the production at Mountview’s recently completed new location in Peckham, south London.

Helping him in this endeavor was a lighting kit that featured over 40 CHAUVET Professional Ovation LED fixtures supplied by White Light. King was very familiar with the potential of that equipment, having been involved in the evaluation process that led to it being installed at the school. He was eager to use the kit to light Guys and Dolls when he learned the theatre would be producing the play.

“I heard from a fellow creative that Mountview was considering this show,” said King. “It’s a great musical and a favorite of mine, so I approached Mountview and asked if they would consider having me light it.”

Given this opportunity, King embraced it with alacrity, creating a dynamic design that moved seamlessly in sync with the play’s many changes in scenery and emotional tones. Working with a set that was relatively open, he coordinated his lighting with key pieces of furniture and props to reflect changes in scenery.

“Some of the trickiest transitions were taking us from New York to Havana, or from a Manhattan street corner to its sewers,” said King. “This is where having an extremely versatile rig came in very handy. We also never wanted to go to a black out in the show, so we had to transition smoothly to each location. Using LED fixtures allowed me to do smooth live color changes to make this all possible.”

Indeed, color changes were critical in aiding the transition from scene to scene. King was happy with the range of colors, from soft pastels to bright saturates that he was able to get from his kit, noting that it would have been virtually impossible to create this palette with tungsten units.

Key to creating these colors were the 15 Ovation E-910FC ellipsoidal fixtures in the kit, most of which were placed head-high on booms with the remaining units located in FOH positions. The RGBA-Lime fixtures served as the main key light for actors’ faces and were also used for texture and color on large group scenes.

Further contributing to the color-scape were Mountview’s 16 Ovation F-915FC Fresnels. These fixtures were placed in three different positions: nine used as overhead top lights, six arranged on ladders and serving as high side lights, and one located FOH to provide a full stage color wash for dance numbers.

“The Mountview Production Arts staff have a bit of a joke suggesting that I never rig any direct front light and this Fresnel unit was the only one on this show,” said King. “In actuality, I like to use much more sharp angles as it’s a lot more interesting.”

Rounding out the Ovation fixtures in the kit were eight B-2805FC Batten and two B-1965 Batten fixtures. “The B-2805FCs had two positions – the first was a bar flown right out almost to the grid to allow the units just to skim down the back wall. These units are really punchy, and I don’t think they ever needed to go above 10-percent,” said King. “The second position was actually above the grid. We had scenes set in the sewers and I wanted to get an effect of light shining through grates, so I rigged two units above the grid to achieve this.

“As for the B-1965 batten, they were on booms at stage level and uses to get bold colors into the upstage set items and create some fun shadows,” continued King. “When you put the quality of our kit with the professionalism of our team, we had a winning effort. Programmer Alex McManus helped me get through hundreds of cues in a very limited amount of time! I also owe a great deal of thanks to the rest of the LX Team: Production Electrician, Dan Foggo, LX Crew, Josh Rooney-Walker, and Followspot Operators, Conor Thornton & David Pughe and of course, the Mountview Production Arts staff team.”

Coming off this successful production, King is eager to get back to theatre again, which he undoubtedly will once the lockdown is lifted. When that happens, as King moves on to light other plays, Guys and Dolls will inevitably be produced by another theatre. Then a new group of lighting designers will discover a wealth of creative opportunities in this timeless musical.

Further information from CHAUVET Professional:



The Latest News and Gear in Your Inbox - Sign Up Today!