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jack | michael design portfolio 2013

This portfolio was printed in August 2013, and forms part of a submission into the Michael Northern Bursary scheme, organised by the Association of Lighting Designers.

I like to think of light as a character in the story, in the sense that it plays a part, and makes a connection with the audience. in the same way an actor would. To this extent, I think the lighting also possesses a degree of responsibility to make the story believable and enjoyable for the audience, but without the aid of dialogue or human interaction. Theatre is all about story telling, and I tend to think of lighting in the same sense, and the ways it can aid the writer in delivering their vision. Many of the starting ideas for my designs originate directly from key moments in the story, in addition to any obvious opportunities that are presented by the set, for example a window. I enjoy working in this way, as I find it uncomplicated and a direct way to achieve a well informed design. It still amazes me just how easily lighting can have a profound eect on a scene, and this is what attracts me most as a designer, creating impressive and visually stimulating work using the simplest of tools and the basics of everyday light. None of the work you’ll see in this book has a particularly impressive rig, big budget set or contemporary and technically proficient lighting, but I like to think that the principles of lighting are present, and executed in a way that’s subtle enough to work, but nothing that upstages the performance itself.

Impotent January 2013 Lion and Unicorn Theatre

Written by Matt Reed Directed by Graham Hubbard Sound Designed by Harry Barker Set Designed by Hattie Clarke

CYMBELINE March 2013 Drayton Arms Theatre

Written by William Shakespeare Directed by Antonio Ferra Sound Designed by Elliot Cahill Set Designed by Caitlin Staples

Another lesser known Shakespeare, parts of this play were set in Welsh caves, and so I’ve tried to keep an earthy feel in the design, which also compliments the set.

A harsh and cold light for the cave scenes, highlights the sheen on the costume and brings definition to the eyes.

In contrast, a warmer scene lit using just two Parcans.

A very simple eect to pull the characters from the background. Lit from two opposite sides.

A strikingly cold light used here to sidelight the character and create shadow on the left of her face. This represented a particular turning moment in the script, so the lighting had to be equally as poignant.

This was lit using par cans and one fresnel, focussed onto centre stage and because all of the action was so low down, the shadows created really helped the feel of the moment.

PERICLES February 2013 Drayton Arms Theatre

Written by William Shakespeare Directed by Andrew Mulligan Designed by Valentina Ricci

The par can used to backlight the two characters doubled up as a distant moon eect.

The focal point in this scene was the daughter who enters in her dress. Therefore, the backlight on her is the strongest source, and I’ve added two fresnels to pick out the faces of the two men.

This scene is only lit using two of the blue/green fresnels, but I focussed them to cast a circular pool on the stage, for the character to stand in. I think it captured the texture in the floor very well.

The idea behind this scene was they were washed up on shore, and so the par can again, represents a moon, with cold light to build this atmosphere added from the sides.

Here the floodlights in the sails are added to the sea wash. This comes at a moment where the sails are referenced in the script, and they slowly illuminated from darkness.

Jack is training at the Guildhall School of Music and Drama. As a designer, theatre credits includes Pericles and Cymbeline (Drayton Arms Theatre) and Impotent (Lion and Unicorn Theatre). He also works in the West End as a casual board operator for The Woman in Black (Fortune Theatre) and Private Lives (Geilgud Theatre) since he began his course in September 2012. Prior to this, he was thrilled to work alongside Patrick Woodroe, Adam Bassett, Tim Routledge and Andy Voller on the London 2012 Paralympic Opening and Closing Ceremonies as an LX Intern. Jack is also a student member of The Association of Lighting Designers, a technical member of The National Youth Theatre and The International Student Drama Festival.

Š 2013 All photos Jack Michael Weir

Jack Michael Design 2013  
Jack Michael Design 2013