Boone, Mary Callahan.

Jean Rosenthal's Light: Making Visible the Magician

Theatre Topics - Volume 7, Number 1, March 1997, pp. 77-92
The Johns Hopkins University Press
Mary Callahan Boone - Jean Rosenthal's Light: Making Visible the Magician Theatre Topics 7:1 Theatre Topics 7.1 (1997) 77-92 Jean Rosenthal's Light: Making
Visible the Magician Mary Callahan Boone Figures As Jean Rosenthal described the
narrow, formulaic conventions of lighting that dominated the theatrical stage as late
as the 1930s, "Comedies were bright; dramas were uncheerful. Day was yellow;
night blue. Effects were naive" (55). Rosenthal's use of light revolutionized the art
of theatrical lighting, and her work (along with that of Abe Feder and Peggy Clark
Kelly) established the specialized area of lighting design. In addition to specific
lighting innovations, Rosenthal's ability to create an atmosphere unique to each
show put her in demand as a Broadway lighting designer. Prior to her death in 1969,
she had begun to explore son et lumire (sound and light) productions as a way to
further elevate the role of light. However, the cultural, professional, and artistic
concerns that helped produce Rosenthal's innovations also placed limits on them. In
this essay I pay particular attention to the way gender expectations and ideas about
the role of light in theatre production intersect, and how Rosenthal accommodated
them. By exploring Rosenthal's specific contributions, I also hope to show how
theatrical lighting can be read in relation to the stage meanings it helps to produce.
Rosenthal began her career as a lighting designer at a time when...

Influential Designers: LD Jean Rosenthal

Dec 8, 2005 2:12 PM
The premiere issue of Live Design will include something called "Under Their
Influence," featuring 10 of the most influential people in the world of live design, as
picked by our advisory board, the Live Design staff, and readers. You'll have to wait and
see who made the full list, but here's a sneak peek at one: lighting designer Jean
Rosenthal.
As you may know, there was no lighting designer before Jean Rosenthal. Well, there
was no lighting design credit, anyway, not until she was listed as a lighting designer for
her work on Rosalinda on Broadway in 1942. She was one of the first to espouse that
what she was doing onstage was art and not electricity, a fact that was underscored by
her exceptional work on such shows as The Sound of Music, West Side Story, and
Fiddler on the Roof. She also wrote one of the first books on lighting, The Magic of
Light.
"Her book The Magic of Light has been as inspiring as the woman herself," says
lighting designer/educator Cindy LiMauro. "Many give her credit for starting the art of
lighting design and formalizing it into a professional practice."

Here's a great anecdote about Rosenthal from Rosco president Stan Miller:
"In 1958 or 59, Jean Rosenthal was lighting a ballet, probably the New York City
Ballet. An electrician, perched precariously on a fully extended A ladder, inserted a
frame of Roscolene in a light as instructed. Jean quietly advised him that he had the
wrong color. He climbed down, found a sheet marked with the color that she had
requested, cut a piece and framed it and made his way back up. Jean, not as quietly this
time, advised him that he had made the same mistake again and he was wasting
everyone's time. Once again, he climbed down and showed her that the sheet was
marked with the number she had specified. She called Rosco and suggested that I come
to the theatre for a chat. I came immediately and quickly determined that we had made a
mistake and marked the sheets with the wrong number. Now Jean Rosenthal was
dimunitive, maybe 5' or 5'1", but she was definitely not small. That day she towered
over me as she explained strongly the ramifications of our error. The 9-foot electrician
at her side reinforced her position. Shaken, I returned to our plant in Brooklyn and made
everyone aware of the implications of mis-marking colors. It has never happened
again."
You can learn the identity of the other nine influential artists in the first issue of Live
Design, hitting the streets next week. If you have your own choice for an influential
visual designer, technician, artist, or director in the world of live design, send your picks
to djohnson@primediabusiness.com.
Jean Rosenthal is considered one of the pioneers of theatrical lighting design. She
emerged as a specialist at a time when a show's lighting was usually handled by
either the scene designer or the master electrician. It was during her thirty three year
career that the Lighting Designer joined the Scene and Costume Designer as a
member of the production team.
Eugenia (Jean) Rosenthal was born in New York City on March 16, 1912. She
was the daughter of Drs. Pauline (a psychiatrist) and Maurice (an ear, nose and
throat specialist) Rosenthal and attended Manumit School in Pawling, NY and the
Friends Seminary in Manhattan. After briefly studying acting and dance at the
Neighborhood Playhouse during the 1929-1930 academic year, she became a
technical assistant to Martha Graham, a member of the school's dance faculty. This
was the beginning of a life long association with Martha Graham and her dance
company. Between 1936 and her death in 1969, she designed the lighting for fifty
three dances in the company's repertory. She returned to the Neighborhood
Playhouse as a lecturer and production advisor during the 1937-38 and 1940-41
seasons.
During her three (1930-1933) years at Yale University she studied theatre history
with George Pierce Baker, scene design with Donald Oenslager, costume design
with Frank Bevin, and lighting design with Stanley McCandless. In the spring of
1933 she left Yale for New York City where she joined one of the WPA Federal
Theatres. By 1935 she had become a technical assistant in Federal Theatre Project
891. John Houseman was the producer, Orson Welles the director, Nat Carson the
scene designer, and Abe Feder the lighting designer.
When Houseman took a leave of absence from the Federal Theatre in 1936 to
produce Leslie Howard's Hamlet, he brought Rosenthal along as the second assistant

stage manager in charge of lighting cues. When the man from the rental house, who
was to install the lighting system became ill, Rosenthal became the electrical
technical director as well as the second assistant stage manager. This is, perhaps, her
earliest "lighting" credit.
In 1937 she joined John Houseman and Orson Welles as the production and
lighting manager of the Mercury Theatre. Although only credited as "Production
Manager," it is believed that she designed the lighting for the eight productions
staged by the company. When the Mercury Theatre Players moved to Hollywood to
produce Citizen Kane (1941) for RKO, Rosenthal remained in New York City and
opened a theatrical supply house: Theatre Production Service, Inc. (TPS) . Through
TPS she offered a complete design and supply service.
In 1958 she created Jean Rosenthal Associates, a theatrical consulting firm which
would become involved in at least thirty architectual projects, including the Guthrie
Theatre in Minneapolis, the American Shakespeare Festival in Stratford, CN, the
Juilliard School of Music in New York City, and the Los Angeles Music Center's
Dorothy B. Chandler Pavilion.
During her career she designed the lighting for over three hundred productions.
Her Broadway credits include West Side Story (1957), The Sound of Music (1959),
Barefoot in the Park (1963), John Gielgud's Hamlet (starring Richard Burton, 1964),
Hello Dolly! (1964), Fiddler on the Roof (1964), The Odd Couple (1965), and
Cabaret (1966).
She believed her most artistic work was accomplished in the "institutional"
theatre -- the dance, opera and drama repertory of the New York City Ballet (19481957), the Martha Graham Dance Company (1934-1969), the American Ballet
Theatre (1960-1968), the New York City Opera (1950-1954), the Dallas Civic
Opera (1957-1969), and the American Shakespeare Festival (1955-1959). These
"institutional theatres" gave her more time for experimentation than was possible on
the commercial Broadway stage. For example, the production schedule for the
Broadway bound musical: Baker Street (1965), called for only four days of technical
and dress rehearsals before the first preview performance in Toronto.
A number of the designs she created forty years ago for the New York City Ballet
are still in the company's repertory. Her plots have been adapted to changes in
equipment and audiences expectation, but because the original concepts, specials,
and cue placement have been retained, the program still carries the credit: "Lighting
by Jean Rosenthal."
She died, after a long battle with cancer, at the age of 57 on May 1, 1969, ten
days after attending the opening of her last creative work: Martha Graham's Archaic
Hours. The last Broadway show to close carrying a "Lighting by Jean Rosenthal"
credit was Fiddler on the Roof which ended its 3,242 performance run on July 2,
1972, three years after her death.
Jean Rosenthal described Broadway lighting as an attempt to make the actor
appear "jewel-like." She achieved this by surrounding the performer with light,
often creating the impression of "light and shade on a stage that contain[d] no
shadows." Instruments were mounted on the balcony rail, box booms, side torms (or

booms), and overhead pipes. Her major contributions were the addition of deeply
colored washes of back and side light to the designer's vocabulary, and an organized
approach to lighting dance.
In addition to her numerous lighting projects, she designed the sets for three
Broadway shows: Conquering Hero (1961), The Beast in Me (1963), and On An
Open Roof (1963) and wrote several articles on lighting and technical production for
magazines like Theatre Arts, Opera News, Musical America and Impulse.
In the late 1950s, Miss Rosenthal began developing plans for a book on lighting
design. She would dictate the material when she had time. It would be edited and
shaped by writer: Lael Wertenbaker, and illustrated by her assistant, Marion
Kinsella. During the early 60's Jean was constantly in demand, so little work was
done on the book. In 1968 she was diagonosed with cancer. During her long stays in
the hospital she was finally able to dictate the essential material that would become
the basis for her final legacy. The Magic of Light, which has long been out-of-print,
was published in 1972.
She received the Henrietta Lord Memorial Award from the Yale School of Drama
in 1932, and the Outer Critics Circle Award, during the 1968-1969 season, for her
contribution to stage design.

The Rosenthal Collection

The Wisconsin Center for Film and Theater Research
A collection of her lighting design documents, including light plots, hook-up
charts, cue sheets, and production notes are on file in the Wisconsin Center for Film
and Theatre Research, which is housed in the Archives of the Wisconsin Historical
Society, on the campus of the University of Wisconsin in Madison.
Included, among the many shows, are the lighting designs for the Broadway
productions of The Sound of Music (1959), A Funny Thing Happened on the Way To
The Forum (1962), and Hole in the Head (1957); the New York City Center
presentations of the New York City Opera (1950-1954), New York City Center
Dance Theatre (1949), and City Center Light Opera Company (1954-1957). Shows
from outside the New York City area include the Los Angles productions of The
King And I (1958 and 1965); the Chicago Lyric Opera production of I Puritani
(1955) and the American Dance Festival at Connecticut College in New London.
The completeness of the files range from a few brief notes, a rough light plot
sketched on graph paper and a scribbled hook-up chart to a nearly complete record
of the development of a lighting design. For example, The Sound Of Music file
contain...

the correspondence between Miss Rosenthal and the producers,

a copy of Lindsay and Crouse's working script,
Oliver Smith's 1/4 inch scenic sketches,
the 1/2 inch scaled floor plans and designer's elevations of the set,
fabric swatches from Lucinda Ballard's costume designs,

Miss Rosenthal's rough sectional studies and preliminary layouts,

final light plot, torm elevations, equipment list, hook-up chart, focus charts,
magic sheets, and cue sheets.
and thank you cards and telegrams from numerous members of the production's
staff and cast.

Several of the New York productions include not only the original Broadway
design, but also the cut-downs used by the national company and the bus-and-truck
tour. The lighting layouts for several shows, including Baker Street (1965) and A
Funny Thing Happened on the Way to the Forum (1962) were also reduced when
they were moved into a different Broadway house.
During the 1950s and 60s, most Broadway shows did a short, two or three stop,
"try-out" tour before coming in to New York. The front of house hang was usually
modified at each out-of-town theatre. Some times, as in Baker Street, the changes
were minor: the box boom units were 6x12 Lekos in Boston and Toronto instead of
the 8x11s specified for New York. Other times the changes were more substantial.
The original light plot for Winesburg, Ohio (1957) called for 48 (all 6x12 Lekos)
front-of-house units: 24 on the first balcony rail and 12 on each box boom. In
Baltimore, 4 lamps were cut, and the remaining 44 units were divided between the
second balcony (28) and the two box booms (9 each). In New York, according to
notes in the file, the box booms were cut, and the lamps, now down to 38 (28- 6x12
Lekos and 10- 1500w 8" KliegLites) were divided between the balcony rail and the
booth pipe.
The smallest show in the collection is the 1959 Neighborhood Playhouse's
production of Dear Liar, 20 lamps and 4 sections of foot lights controlled on two-six channel Davis Dimmers. The production then went on the road before opening
on Broadway. The road plot was very close to what was done at the Playhouse: 22
lamps and 4 sections of footlights controlled on one 14 plate road board. The two
additional lamps, and dimmers, were for specials. When the show opened at the
National Theatre on March 17, 1960 there were 58 lamps, 4 sections of foot lights,
and 3 sections of border lights controlled on 48--500watt dimmers mastered through
one 14 plate road board. At the Playhouse and on the road, each of the three acting
areas were primarily lit by 4 lamps: 2 on the balcony and 2 on the first pipe. At the
National Theatre, each area was lit by 12 lamps: 2 on the rail, 2 on each box boom,
and 6 on the first electric. An interesting side light: according to the notes in the file,
one of the students assigned to Miss Rosenthal's light crew by the Neighbor
Playhouse was Dabney Coleman.
The largest production in the collection is To Broadway With Love. This
extravaganza was presented in the Texas Pavillion during the 1964 New York
World's Fair. The deeply curved stage had a 74 feet wide proscenium opening. The
406 lamps and the 63 sections of 500 watt PAR strips were controlled on 10 road
boards with a total of 140 dimmers.
The collection also includes the paper work (repertory light plot, rep hook-up
chart, re-plug charts, cue sheets and notes ) for 32 of the works in the 1950-1954
repertory of the New York City Opera .

Among the dance designs included in the collection are those for the American
Dance Festival, Connecticut College, New London, CN (1949-1950), the New York
City Dance Theatre (1949) which used the New York City Ballet's repertory plot, the
1950 performance of the Ballet Russe de Monte Carlo at the Metropolitan Opera,
the Ballet International (1944) and Ruth Page and Jose Limon in Paris (1950).
In addition to lighting the traditional theatrical forms -- drama, musicals, opera,
and dance -- she also lit Judy Garland at the Palace (1951), Judy Garland at the
Met (1959), the National Orchestra Association's Christmas Show (1948-1950), the
The Lamb's Club Benefit for the Children's Clinic's Postgraduate Center for
Psychotherapy (1961) and the National Congress of American Industry's
Convention (1950) at the Waldorf-Astoria Hotel.
The earliest lighting design represented in the collection is the from the six show
repertory of the New Opera Company which opened its five week run at the
Broadway Theatre in November 1942. The latest show represented is Happly Ever
After which opened in March 1966.
The files for at least three Broadway shows, West Side Story (1957), John
Gielgud's Hamlet (starring Richard Burton, 1964), and Dark At The Top of the Stairs
(1957) are empty. A note in each folder, dated January 30, 1969, says that the
documents were "Returned to JR." Although the paperwork for the Broadway
production of Dark...Stairs has been returned, the light plot, hook-up chart, and cue
sheets for the bus and truck company are still in the collection.
There are also files for several Broadway shows which do not carry the "Lighting
by Jean Rosenthal" credit. The 110 In The Shade (1963: Lighting by John Harvey)
folder contains only the script and cue sheets. The She Loves Me (1962: Scenery and
lighting by William and Jean Eckart) file contains a revised hook-up chart and cue
sheets and numerous production notes. Miss Rosenthal was apparently brought in to
re-hang and re-cue the show, but no reason is given as to why.
One of the "Broadway" shows in the collection does not appear in the listing of
Miss Rosenthal's design credits in The Magic of Light . The show is Hot September
(1965), a musical adaption of William Inge's Picnic which closed out of town in
Boston.
The collection does present a number of problems. Many of the papers are not
dated, and there is often more than one hook-up chart or cue sheet making it difficult
to determine which was the final design, and which was the preliminary sketch. The
color media used in most of the early productions was Brigham gel, and when
Rosco gel was chosen, it was identified by the old numbers, "No Color Pink" was
#60, not #225. By the late 1950's she began using both Cinemoid (where "Pale
Salmon" was #553) and Roscolene (where "No Color Pink" was #9-60 instead of
#825) Most of the shows were controlled on four to six road (or "piano") boards.
The typical "Broadway Play" had 42- 3000 watt dimmers on three boards, and 126000 watt plates on the fourth. A "Broadway musical" was controlled on 70- 3000
watt dimmers, on five boards, and 12-6000 watt units on the sixth.
The collection, which is contained in 41 document boxes, does not contain all of
Ms. Rosenthal's work. The productions included were presented between 1942 and

1966. The most important works missing from the collection are her designs for the
Martha Graham Dance Company and the New York City Ballet.

Jean Rosenthal es considerada uno de los pioneros del diseo de iluminacin

teatral. Sali como un especialista en un momento en un espectculo de iluminacin
fue generalmente bien manejado por el diseador de escena o el electricista maestro.
Fue durante su carrera de treinta y tres aos que el diseador de iluminacin se uni
a la escena y diseador de vestuario como miembro del equipo de produccin.
Eugenia (Jean) Rosenthal naci en Nueva York el 16 de marzo de 1912. Ella era
la hija de los Dres. Pauline (un psiquiatra) y Maurice (odo, nariz y garganta),
Rosenthal y asisti a la Escuela en manumitirlos Pawling, Nueva York y los Amigos
del Seminario, en Manhattan. Despus de una breve estudiando actuacin y danza
en el Neighborhood Playhouse durante el ao acadmico 1929-1930, se convirti en
un asistente tcnico de Martha Graham, miembro de la facultad de danza de la
escuela. Este fue el comienzo de una vida larga asociacin con Martha Graham y su
compaa de baile. Entre 1936 y su muerte en 1969, ella dise la iluminacin de
cincuenta tres bailes en el repertorio de la compaa. Regres a la Neighborhood
Playhouse como profesor y asesor de produccin durante la temporada 1937-38 y
1940-41.
Durante sus tres (1930-1933) aos en la Universidad de Yale, estudi historia del
teatro con George Pierce Baker, diseo de escena con Donald Oenslager, diseo de
vestuario con Frank Bevin, y el diseo de iluminacin con Stanley McCandless. En
la primavera de 1933 dej de Yale de Nueva York, donde se uni a uno de la
Federacin de Teatro de WPA. En 1935 se haba convertido en un asistente tcnico
en el Federal Theatre Project 891. John Houseman era el productor, el director
Orson Welles, Nat Carson, el diseador de la escena, y Abe Feder, el diseador de
iluminacin.
Cuando Houseman tom una licencia de ausencia del Teatro Federal en 1936 para
producir Leslie Howard's Hamlet, Trajo a lo largo de Rosenthal como el segundo
asistente de director de escena a cargo de la iluminacin de las seales. Cuando el
hombre de la casa de alquiler, que iba a instalar el sistema de iluminacin se
enferm, Rosenthal se convirti en el director tcnico elctricas, as como la
segunda asistente de director de escena. Esta es, quiz, antes de su "iluminacin" de
crdito.
En 1937 se uni a John Houseman y Orson Welles como la produccin y director
de iluminacin del Teatro Mercury. Aunque slo se acredita como "Gerente de
Produccin", se cree que ella dise la iluminacin de las ocho producciones en la
empresa. Cuando los jugadores Mercury Theatre se mud a Hollywood para
producir Ciudadano Kane (1941) para la RKO, Rosenthal se qued en Nueva York
y abri una casa de la oferta de teatro: Teatro de Servicio de Produccin, Inc. (TPS).
A travs de TPS que ofrece un diseo completo y servicio de suministro.
En 1958 se cre Jean Rosenthal Associates, una firma de consultora teatral que
estaran implicados en al menos treinta proyectos arquitectnicos, incluyendo el
Teatro Guthrie en Minneapolis, el Festival de Shakespeare en Stratford

estadounidense, CN, la Juilliard School of Music de Nueva York, y Dorothy Los

Angeles Music Center B. Chandler Pavillion.
Durante su carrera dise la iluminacin de ms de trescientas producciones. Su
Broadway incluyen West Side Story (1957), The Sound of Music (1959), Descalzos
en el parque (1963), John Gielgud's Hamlet (protagonizada por Richard Burton,
1964), Hello Dolly! (1964), El violinista en el tejado (1964), The Odd Couple
(1965), y Cabaret (1966).
Ella crea que su obra ms artstica se llev a cabo en el "institucional" de teatro la danza, la pera y el repertorio de teatro de la New York City Ballet (1948-1957),
la Martha Graham Dance Company (1934-1969), la American Ballet Theatre
(1960-1968), la New York City Opera (1950-1954), la Dallas Civic Opera (19571969), y la American Shakespeare Festival (1955-1959). Estos teatros
"institucional" le dio ms tiempo para la experimentacin lo que era posible en los
escenarios de Broadway comerciales. Por ejemplo, el programa de produccin para
el musical de Broadway de la envolvente: Baker Street (1965), llam a slo cuatro
das de tcnicas prcticas y ensayos antes de la funcin primer adelanto en Toronto.
Algunos de los diseos que cre hace cuarenta aos para la New York City Ballet
todava en el repertorio de la compaa. Sus parcelas se han adaptado a los cambios
en el equipo y el pblico espera, sino porque los conceptos originales, especiales, y
la colocacin de referencia se han mantenido, el programa todava lleva el crdito:
"La iluminacin de Jean Rosenthal."
Ella muri, despus de una larga batalla con el cncer, a la edad de 57 aos el 1
de mayo de 1969, diez das despus de asistir a la inauguracin de su ltimo trabajo
creativo: Martha Graham Horas Arcaico. El ltimo espectculo de Broadway para
cerrar llevar a una "iluminacin de Jean Rosenthal," el crdito era El violinista en el
tejado 3242 que puso fin a su rendimiento ejecutar el 2 de julio de 1972, tres aos
despus de su muerte.
Jean Rosenthal describe iluminacin de Broadway como un intento de hacer que
el actor aparecer "joya". Lo consigui, al rodear el artista con la luz, creando a
menudo la impresin de "luz y sombra en un escenario que contienen [d] sin
sombras." Los instrumentos fueron montados en la barandilla del balcn, los auges
de caja, Torms lado (o barreras), y las tuberas generales. Sus mayores
contribuciones fueron la adicin de lava profundamente color y la luz de la espalda
de un lado al vocabulario del diseador, y un enfoque organizado para la danza de
iluminacin.
Adems de sus numerosos proyectos de iluminacin, ella dise los decorados
para tres espectculos de Broadway: Conquering Hero (1961), The Beast in Me
(1963), y En un techo abierto (1963) y escribi varios artculos de iluminacin y
tcnicas de produccin para revistas como Artes de Teatro, Opera News, American
Musical y Impulse.
A finales de 1950, Miss Rosenthal, comenz a desarrollar planes para un libro
sobre el diseo de la iluminacin. Se dictara el material cuando haba tiempo. Sera
editado y forma por el escritor: Lael Wertenbaker, e ilustrado por su asistente,
Marion Kinsella. Durante los primeros aos 60, Jean constantemente en la demanda,

el trabajo tan poco se ha hecho en el libro. En 1968 fue diagonosed con cncer.
Durante su larga estancia en el hospital fue finalmente capaz de dictar el material
esencial que se convertira en la base de su legado final. La Magia de la Luz, Que ha
sido durante mucho tiempo fuera de la impresin, se public en 1972.
Recibi el Seor Henrietta Memorial Award de la Yale School of Drama en 1932,
y el premio Outer Critics Circle, durante la temporada 1968-1969, por su
contribucin a la etapa de diseo.

La coleccin de Rosenthal
El Centro de Wisconsin para el cine y el teatro de Investigacin
Una coleccin de sus documentos de diseo de iluminacin, incluyendo parcelas
de luz, hook-up grficos, hojas de referencia, y las notas de produccin se
encuentran archivados en la De Wisconsin Centro de Cine y Teatro de
Investigacin, Que se encuentra en los Archivos de la Sociedad Histrica de
Wisconsin, en el campus de la Universidad de Wisconsin en Madison.
Incluido, entre los muchos espectculos, son los diseos de iluminacin para las
producciones de Broadway The Sound of Music (1959), A funny thing happened on
the way to the Forum (1962), y Agujero en la cabeza (1957); la ciudad de Nueva
York Centro de presentaciones de la pera de Nueva York (1950-1954), New York
City Center Dance Theatre (1949), y Centro de la ciudad de luz Opera Company
(1954-1957). Muestra de fuera de la ciudad de Nueva York son las producciones de
Los Angles de El rey y yo (1958 y 1965), la produccin de la pera Lrica de
Chicago de I Puritani (1955) y la American Dance Festival en Connecticut College
en New London.
La integridad de los archivos varan de unas breves notas, una trama spera luz
dibujado en papel cuadriculado y garabate hook-up grfico a un registro casi
completo de la elaboracin de un diseo de iluminacin. Por ejemplo, The Sound Of
Music archivo contiene ...

la correspondencia entre la seorita Rosenthal y los productores,

de una copia de Lindsay Crouse y el guin de trabajo, el
1 / Oliver Smith 4 de pulgada bocetos escnicos,
el 1 / 2 pulgada de los planos a escala y las elevaciones del diseador del juego,
muestras de tejido de los diseos de vestuario Lucinda Ballard,
Estudios en bruto Miss Rosenthal seccionales y diseos preliminares,
parcela luz final, elevaciones Torm, lista de equipamiento, Hook-Up grfico,
grficos de enfoque, las hojas de la magia, y las hojas de referencia.
y blocs de notas y telegramas de numerosos miembros del personal de la
produccin y reparto.

Varias de las producciones de Nueva York no slo incluyen el diseo original de

Broadway, sino tambin el corte bajas utilizados por la empresa nacional y el
autobs-y-gira del camin. Los diseos de iluminacin para espectculos varios,
incluidos los Baker Street (1965) y Algo extrao sucedi en el camino hacia el Foro
(1962) tambin se redujeron cuando se mud a una casa de Broadway diferentes.

Durante la dcada de 1950 y 60, la mayora de los espectculos de Broadway hizo

un corto, dos o tres paradas, "try-out" visita antes de venir a Nueva York. El frente
de la casa cuelgan por lo general en cada vez fuera de la ciudad de teatro. Algunas
veces, como en Baker Street, Los cambios fueron menores: las unidades boom box
fueron 6x12 Lekos en Boston y Toronto, en lugar de la 8x11s especificado para
Nueva York. Otras veces, los cambios fueron ms sustanciales. La trama original de
la luz Winesburgo, Ohio, (1957) pidi 48 (todos los Lekos 6x12) frente de unidades
de vivienda: 24 en la barandilla del balcn primero y 12 el auge de cada caja. En
Baltimore, 4 lmparas fueron cortadas, y los restantes 44 unidades se dividieron
entre el balcn del segundo (28) y los dos auges cuadro (9 cada uno). En Nueva
York, de acuerdo con las notas en el archivo, el cuadro de plumas fueron cortadas, y
las luces, ahora ha bajado a 38 (28 - 6x12 Lekos y 10 - 1500w 8 "KliegLites) se
dividieron entre la barandilla del balcn y el tubo de cabina.
Los ms pequeos muestran en la coleccin es la produccin de la Playhouse
1959 Barrio de Dear Liar, 20 lmparas y 4 secciones de luces controlado con los
pies en dos a seis canales de Davis Dimmer. La produccin entonces se pusieron en
camino antes de la apertura en Broadway. La trama carretera estaba muy cerca de lo
que se hizo en el teatro: 22 lmparas y 4 secciones de candilejas controlada en un 14
placas bordo de ruta. Los dos lmparas adicionales, y los reguladores, fueron los
especiales. Cuando el espectculo se estren en el Teatro Nacional de 17 de marzo
de 1960 haba 58 lmparas, 4 secciones de las luces de pie, y 3 secciones de las
luces de control en la frontera 48 - reguladores 500watt dominar a travs de una
placa de 14 a bordo de ruta. En el teatro y en el camino, cada una de las tres reas de
actuacin eran principalmente iluminado por 4 lmparas: 2 en el balcn y 2 en la
primera tubera. En el Teatro Nacional, cada rea iluminada por 12 lmparas: 2 en la
barandilla, 2 en cada cuadro de auge, y 6 en la primera elctrica. Una luz de lado
interesante: de acuerdo con las notas en el archivo, uno de los estudiantes asignados
a la tripulacin de luz de la seorita de Rosenthal por el teatro vecino fue Dabney
Coleman.
La mayor produccin de la coleccin es A Broadway con Amor. Este espectculo
fue presentado en el Pabelln de Texas durante la Feria de 1964 Mundial de Nueva
York. La etapa profundamente curvado haba apertura proscenio de 74 pies de
ancho. Las 406 lmparas y las 63 secciones de 500 tiras PAR vatios fueron
controlados en 10 placas de carretera con un total de 140 dimmers.
La coleccin tambin incluye los trabajos de papel (luz solar repertorio, gancho
de re-up grfico, re-conectar grficos, hojas de referencia y notas) para 32 de las
obras en el repertorio del 1950-1954 de la New York City Opera .
Entre la danza de los diseos incluidos en la coleccin son los de la American
Dance Festival, Connecticut College, New London, NC (1949-1950), la New York
City Dance Theatre (1949) que utilizaron el New York City Ballet's parcela
repertorio, el 1950 el rendimiento de la Ballet Ruso de Monte Carlo en el
Metropolitan Opera, el Internacional de Ballet (1944) y Ruth Page y Jos Limn, en
Pars (1950).
Adems de la iluminacin de las formas tradicionales de teatro - teatro, musicales,
pera y danza - que tambin encendi Judy Garland en el Palacio de (1951), Judy
Garland en el Met (1959), la De Navidad Orquesta Nacional de la Asociacin de

Show (1948-1950), la El Club de los cannigos de beneficios para Clnica de los

Nios de Postgrado del Centro de Psicoterapia (1961) y la Congreso Nacional de la
Convencin Americana de la Industria (1950) en el Waldorf-Astoria Hotel.
El primer diseo de la iluminacin representados en la coleccin es la de mostrar
los seis repertorio de la New Opera Company que abri sus cinco semanas en el
Teatro Broadway en noviembre de 1942. El ltimo espectculo, es Happly Ever
After que se abri en marzo de 1966.
Los archivos de al menos tres espectculos de Broadway, West Side Story (1957),
John Gielgud's Hamlet (protagonizada por Richard Burton, 1964), y Oscuro en el
alto de la escalera (1957) estn vacos. Una nota en cada carpeta, de fecha 30 de
enero 1969, dice que los documentos eran "volvi a JR." Aunque los trmites para la
produccin de Broadway de los Escaleras oscuras ... ha sido devuelto, la trama de
luz, hook-up grfico y hojas de referencia para el autobs y camin de la empresa
todava se encuentran en la coleccin.
Tambin hay archivos de varios espectculos de Broadway que no llevan la
"iluminacin de Jean Rosenthal" de crdito. El 110 in the Shade (1963: Iluminacin
por John Harvey) carpeta slo contiene el guin y las hojas de referencia. El She
Loves Me (1962: Paisaje y la iluminacin de Guillermo y Jean Eckart) contiene un
gancho revisado hasta grfico y hojas de referencia y de numerosas notas de
produccin. Miss Rosenthal fue aparentemente llevado a volver a colgar y volver a
mostrar la seal, pero no se da razn de por qu.
Uno de los "Broadway" muestra de la coleccin no aparece en la lista de crditos
de diseo en Miss Rosenthal La Magia de la Luz . El espectculo es Hot septiembre
(1965), una adaptacin musical de William Inge de Picnic que se cerr fuera de la
ciudad de Boston.
La coleccin se presenta una serie de problemas. Muchos de los documentos no
tienen fecha, y con frecuencia hay ms de un hook-up grfico o una hoja de
referencia por lo que es difcil determinar cul fue el diseo final, y que fue el
primer esbozo. Los medios de comunicacin de color utilizados en la mayora de las
primeras producciones se Brigham gel, y cuando gel Rosco fue elegido, fue
identificado por los nmeros antiguos, "No Color Pink" fue # 60, # 225, no. Por
fines de 1950 comenz a utilizar tanto Cinemoid (donde "Pale salmn" fue la # 553)
y Roscolene (donde "n de color rosa", fue # 9-60 en lugar de # 825) La mayor parte
de la muestra fueron controlados en cinco y cincuenta y seis por carretera ( o
"piano") juntas. El tpico "Broadway" Play "haba 42 hasta 3000 vatios reguladores
en tres placas, y placas 12-6000 vatios en el cuarto. A "musical de Broadway", fue
controlado en 70-3000 dimmers vatios, en cinco consejos, 12-6000 y unidades de
vatios en el sexto.
La coleccin, que est contenida en 41 cajas de documentos, no contiene toda la
obra de la Sra. Rosenthal. Las producciones incluyen, fueron presentados entre 1942
y 1966. Las obras ms importante que falta en la coleccin son sus diseos para la
Martha Graham Dance Company y el New York City Ballet.

by Carol Fippin

Jean Rosenthal was a pioneer in theater lighting design. Light is quite tactile to me. It has
shape and dimension. Inspired by the paintings of Rembrandt and Monet, Rosenthal mastered
the technical and poetic aspects of stage lighting. She used lights form, color, and movement to
express the intention of a performance. Carefully integrating light into the overall texture of a
piece, Rosenthal believed that the most successful and brilliant work a lighting designer can do
is usually the least noticeable.
Born Eugenie Rosenthal in New York City, on March 16, 1912, she was the only daughter and
second of three children of Pauline (Scharfman) and Morris Rosenthal. Her parents, who
emigrated from Romania in the 1880s, were both children of Jewish tailors. An unconventional
family for the time, both parents worked as medical doctors, her father as an ear, nose, and
throat specialist, her mother, as a psychiatrist.
Following her mothers progressive educational beliefs, Jean and her brothers attended the
Ethical Culture School in the Bronx and later enrolled in the experimental Manumit School in
Pawling, New York. With good humor, Rosenthal described the unorthodox yet holistic
education she received at Manumit: We... learned how to enter a chicken coop without scaring
the chickens. Very valuable thing to know when you work in the theatre. For high school,
Rosenthal studied at the Friends Seminary in Manhattan, a more formal educational
environment, where she had a difficult time fitting in. At age sixteen, Rosenthal barely graduated
from the school.
With her grades too low for her to be accepted at a prestigious college, Rosenthal enrolled in
the Neighborhood Playhouse School of the Theatre in Manhattan. She was soon captivated by
the experimental dance work of one faculty member, Martha Graham. Between 1928 and 1930,
Rosenthal immersed herself in Grahams work, doing all aspects of production and technical
assistance. In order to get more rigorous technical training, Rosenthal enrolled in the Yale
University School of Drama from 1931 to 1934. There, she studied closely with the well-known
stage lighting instructor Stanley McCandless. In 1932, Rosenthal received the Henrietta Lord
Memorial Award for her work at Yale.
Rosenthals first professional job was in 1935 as production supervisor for a WPA theater
project in New York City. In this setting, she worked with John Houseman and Orson Welles
and, in 1937, became a production assistant for Welless Mercury Theatre. During Welless
production of Julius Caesar in 1937, Rosenthal made a name for herself as an inventive lighting
designer, bringing her a succession of jobs on Broadway. To supplement this production work,
Rosenthal founded her own company in 1940, the Theatre Production Service, which ran a
mail-order catalog for theatrical equipment.
Rosenthal did the stage lighting for a number of well-known Broadway plays and musicals, such
as West Side Story (1957), Becket (1960), Hello, Dolly! (1964), Hamlet (1964), Fiddler on the
Roof (1964), The Odd Couple (1965), and Cabaret (1966). She is most famous for her

unconventional lighting of dance and opera performances, including long-term collaborations

with Gian Carlo Menotti, the New York City Ballet and its predecessor the Ballet Society, Martha
Graham, and the New York City Opera. Rosenthal also worked as an illumination, theater, and
restoration consultant, assisting on such projects as the Pan-American terminal at the John F.
Kennedy Airport in New York, the Los Angeles Music Center, the American Shakespeare
Festival Theater in Connecticut, as well as theaters in Canada and Australia.
A small, dark-haired woman with large blue eyes, Rosenthal confronted the sexism of her maledominated profession by being very courteous, commonly referring to her crew of electricians
as darling and honey. She spent her free time in the company of close friends, disliking the
more formal social life of cocktail parties. A lifelong New Yorker, Rosenthal shared her
apartment, as well as her home on Marthas Vineyard, with artist Marion Kinsella.
Throughout her career, Rosenthal favored dance performances, particularly the abstract works
of Martha Graham. In contrast to Broadway musicals and plays, which required a relatively
standardized lighting design, Grahams dances allowed for imaginative and experimental
illumination. Rosenthal used dramatic side lighting, giving dancers a sculptural quality. She
made Grahams performances a professional priority: To do one or two new works for Martha a
year was a part of my life and a renewal of my own interior spirit. In the last weeks of her life,
suffering from cancer and confined to a wheelchair, Rosenthal designed the lighting for her final
Graham piece. Until her death in New York City, on May l, 1969, Rosenthal lived a lifetime in
light.

by Carol Fippin
Jean Rosenthal was a pioneer in theater lighting design. Light is quite tactile to me. It has
shape and dimension. Inspired by the paintings of Rembrandt and Monet, Rosenthal mastered
the technical and poetic aspects of stage lighting. She used lights form, color, and movement to
express the intention of a performance. Carefully integrating light into the overall texture of a
piece, Rosenthal believed that the most successful and brilliant work a lighting designer can do
is usually the least noticeable.
Born Eugenie Rosenthal in New York City, on March 16, 1912, she was the only daughter and
second of three children of Pauline (Scharfman) and Morris Rosenthal. Her parents, who
emigrated from Romania in the 1880s, were both children of Jewish tailors. An unconventional
family for the time, both parents worked as medical doctors, her father as an ear, nose, and
throat specialist, her mother, as a psychiatrist.
Following her mothers progressive educational beliefs, Jean and her brothers attended the
Ethical Culture School in the Bronx and later enrolled in the experimental Manumit School in
Pawling, New York. With good humor, Rosenthal described the unorthodox yet holistic

education she received at Manumit: We... learned how to enter a chicken coop without scaring
the chickens. Very valuable thing to know when you work in the theatre. For high school,
Rosenthal studied at the Friends Seminary in Manhattan, a more formal educational
environment, where she had a difficult time fitting in. At age sixteen, Rosenthal barely graduated
from the school.
With her grades too low for her to be accepted at a prestigious college, Rosenthal enrolled in
the Neighborhood Playhouse School of the Theatre in Manhattan. She was soon captivated by
the experimental dance work of one faculty member, Martha Graham. Between 1928 and 1930,
Rosenthal immersed herself in Grahams work, doing all aspects of production and technical
assistance. In order to get more rigorous technical training, Rosenthal enrolled in the Yale
University School of Drama from 1931 to 1934. There, she studied closely with the well-known
stage lighting instructor Stanley McCandless. In 1932, Rosenthal received the Henrietta Lord
Memorial Award for her work at Yale.
Rosenthals first professional job was in 1935 as production supervisor for a WPA theater
project in New York City. In this setting, she worked with John Houseman and Orson Welles
and, in 1937, became a production assistant for Welless Mercury Theatre. During Welless
production of Julius Caesar in 1937, Rosenthal made a name for herself as an inventive lighting
designer, bringing her a succession of jobs on Broadway. To supplement this production work,
Rosenthal founded her own company in 1940, the Theatre Production Service, which ran a
mail-order catalog for theatrical equipment.
Rosenthal did the stage lighting for a number of well-known Broadway plays and musicals, such
as West Side Story (1957), Becket (1960), Hello, Dolly! (1964), Hamlet (1964), Fiddler on the
Roof (1964), The Odd Couple (1965), and Cabaret (1966). She is most famous for her
unconventional lighting of dance and opera performances, including long-term collaborations
with Gian Carlo Menotti, the New York City Ballet and its predecessor the Ballet Society, Martha
Graham, and the New York City Opera. Rosenthal also worked as an illumination, theater, and
restoration consultant, assisting on such projects as the Pan-American terminal at the John F.
Kennedy Airport in New York, the Los Angeles Music Center, the American Shakespeare
Festival Theater in Connecticut, as well as theaters in Canada and Australia.
A small, dark-haired woman with large blue eyes, Rosenthal confronted the sexism of her maledominated profession by being very courteous, commonly referring to her crew of electricians
as darling and honey. She spent her free time in the company of close friends, disliking the
more formal social life of cocktail parties. A lifelong New Yorker, Rosenthal shared her
apartment, as well as her home on Marthas Vineyard, with artist Marion Kinsella.
Throughout her career, Rosenthal favored dance performances, particularly the abstract works
of Martha Graham. In contrast to Broadway musicals and plays, which required a relatively
standardized lighting design, Grahams dances allowed for imaginative and experimental

illumination. Rosenthal used dramatic side lighting, giving dancers a sculptural quality. She
made Grahams performances a professional priority: To do one or two new works for Martha a
year was a part of my life and a renewal of my own interior spirit. In the last weeks of her life,
suffering from cancer and confined to a wheelchair, Rosenthal designed the lighting for her final
Graham piece. Until her death in New York City, on May l, 1969, Rosenthal lived a lifetime in
light.

A Photo Essay on Light

from

The Magic of Light

by
Jean Rosenthal and Lael Wertenbaker
Photography by Steven A. Sint
Edited by Marion Kinsella
Lighting equipment courtsey of Kliegl Brothers
The following photo essay was shot on a miniature stage (scale: two inches to one
foot) using small versions of the fresnel and ellipsoidal spotlights. The figures are
sculptor's scale-model manikins. The essay is preceded by a mini light plot.
The essay was designed to show in simple terms how light coming from the
standard theatre lighting positions will look when focused to light an actor in a
given area on the stage. The mini light plot is a ground plan showing where the light
pipes and instruments are hanging in relation to the stage. The plot also has on it an
elevation of one of the tormentor pipes (or "booms," as they are sometimes called)
for side lighting, and the ground plan of the tormentor positions used in the photo
essay.
Each of the photo essays will refer back to the mini light plot for position of the
instrument used. Through the use of this reference, the logic of why instruments are
positioned as they are to achieve the desired angle and effect will become evident.
[I have added a number of bracketed comments based on either my personal
experience or the study of Miss Rosenthal's work archived with the Wisconsin
Historical Society located at the University of Wisconsin in Madison. I have found
the "Photo Essay on Light" to be an excellent teaching tool. The following link will
open the mini light plot in it's own browser window. -LW ]

No.2 pipe diagonal x-lights. Fresnel

lamps no. 1 and no. 4 on a 45-degree
angle cross-focus to center stage. Both
lamps are on half focus. [No. 2 Pipe 1
- 4]

Figure 1

[Diagonal x-light will produce

adequate, although shadow filled,
illumination. The addition of a
little front light from the Cove or
Rail position will improve the
audience's ability to read the
actor's face. See Figure 22 Two
eight inch fresnels at each end of
the Pipe should light the full width
of the bay. Additional fresnels
placed in the second, third and
fourth bay can create a full stage
cross wash. -LW]
No. 1 pipe ends. Ellipsoidal lamps no.
1 and no. 5 are focused diagonally to
center stage, and both are shuttered
upstage and downstage to stay inside
the first bay. The onstage, or bottom,
edge of each light has been squared
off on the shutters to keep the floor
pattern tidy. [No. 1 Pipe 1 - 5]

Figure 2

[Ellipsoidals make it possible to

accurately control the beam of
light. Ellipsoidal Pipe Ends are
often used to light an actor who is
only a couple of feet from the set.
Two 6x12 ellipsoidals at each end
of the Pipe should cross light the
full width of the bay. -LW]
Backlight. Ellipsoidal backlight from
the no. 4 pipe center position, on sharp
focus. [No. 4 Pipe Center]

Figure 3

[Backlight high lights the head

and shoulders and can be used to
separate the actor from his
background. From the front,
backlight, like downlight creates
matching patterns of parallel
beams. Four 6x12 ellipsoidals
could backlight the entire width of
the bay. -LW]

Fresnel backlight from the same no. 4

pipe center position, on half focus.
[No. 4 Pipe Center]
[Notice the soft edge of the floor
pattern. -LW]

Figure 4
Combination showing no. 2 pipe
fresnel x-light (lamps no. 2 and no. 3)
and no. 4 pipe fresnel backlight, all
focused to downstage center, all on
half focus.[No. 2 Pipe 2 - 3, No. 4
Pipe Center]

Figure 5

[Again, cross and backlight will

produce adequate, but shadow
filled, illumination. The addition of
a little front light from the Cove or
Rail position will improve the
audience's ability to read the
actor's face. The Second Pipe
fresnels, lamps 2 and 3, are on a
sharp 60-degree angle cross-focus
to center stage. See Figure 22
Downlights. No. 1 pipe ellipsoidal
lamps no. 2 and no. 4. The focus is
straight down and sharp. The
downlight can be very dramatic but is
not very good for faces. Viewed from
the front, downlights create matching
patterns of parallel beams. [No. 1 Pipe
2 - 4]

Figure 6

[The three downlights on the

First Pipe can be worked together
to create an evenly spaced wash,
or controlled individually to
develop a grid of specials. Twelve
lamps, three per bay in four bays,
can create a full stage grid. This
pattern is seen in most of her
dance plots. -LW]

Figure 7

In order to show the comparison of

control of the light beam in an
ellipsoidal with the ambiant haze light
of a fresnel, we have placed two
figures on the stage. One figure is in
the center of the light and the other is
just outside the ring of light. Although
the photograph exaggerates the
situation a little, it tells the story
clearly. In Figure 7 we have an
ellipsoidal downlight on sharp focus,
and we cannot see the second figure at
all. [No. 1 Pipe 3]

In Figure 8 we have replaced the

ellipsoidal with a fresnel, and the
second figure has become visible in
the ambiant haze of light, even though
the fresnel is also on sharp focus. Both
lamps are from the no. 1 pipe no. 3
position.[No. 1 Pipe 3]
Figure 8
Frontlight. An ellipsoidal from the
center of the ceiling cove, or second
balcony position, focused to
downstage center. Upstage the
shuttering is off the backdrop;
downstage it is to the edge of the
stage, and the sides are squared off for
a cleaner floor pattern. By itself, this
frontlight gives a very flat quality to
the figure, even when x-focused, but it
is good for seeing eyes in faces. [Cove
Center]

Figure 9

[Because very few Broadway

houses had Cove positions in the
50s and 60s, Frontlight lamps
were usually mounted on the
Balcony Rail. This meant that not
only was the actor's face brightly
lit, but so was the scenery behind
him. -LW]

Box lights. An ellipsoidal from the

box-right position. In the shuttering it
has been cut off the right proscenium,
the upstage drop, and the edge of the
stage downstage, which would include
staying off the proscenium on stage
left. [Box Right]
[Three 6x12 ellipsoidals should
give a full stage wash. -LW]
Figure 10
An ellipsoidal from the box left
position combined with a no. 2 pipe
fresnel (lamp no. 2) focused to
downstage center. [Box Left, No. 2
Pipe 2]
[The fresnel side light from the
Second Pipe adds depth, but some
fill from either stage right or the
front is still needed. -LW]
Figure 11
Torm x-light. No. 1 torm left, lamp
no. 3. An ellipsoidal focused straight
across, covering the stage for the
figure from stage right to stage left, or
full x-stage coverage. [No. 1 Torm
Left 3]

Figure 12

This is the basic side light

position for dance. In a musical or
drama, this instrument could
represent a rising (or setting) sun.
Fill light could come from the
stage right torm. -LW]
Torm x-light. From both no. 1 torm
left, lamp no. 3, and no. 1 torm right,
lamp no. 3. Both are focused for head
high at center and give full x-stage
coverage. [No. 1 Torm Left & Right
3]

Figure 13

[This has become the standard

mounting position for lighting
dance. Compare the mid-torm
cross light with the high side light
from the First Pipe pipe ends. See
Figure 2. -LW]

Low x-light, or "shinbuster." No. 1

torm left, ellipsoidal lamp no. 4,
focused straight across the stage and
shuttered both upstage and downstage
off the opposite, masking legs. It is
also shuttered off the floor with the
bottom of the light, making the beam
invisible until someone moves into it.
[No. 1 Torm Left 4]

Figure 14

[Like the mid-torm cross light,

the shinbuster is one of the main
stays of a dance lighting
designer's vocabulary -LW]
Uplight. Ellipsoidals from no. 1 torms
left and right, lamps no. 4. They are
focused to head high at center stage.
There is no shuttering upstage, and the
light has not been shuttered off the
floor. The only cuts are off the
downstage masking legs (wings)
opposite each lamp. [No. 1 Torm Left
& Right 4]

Figure 15
A combination of uplight from no. 1
torm left no. 4 ellipsoidal and a high
torm x-light from no. 1 torm right no.
1 ellipsoidal. The high torm lamp is
shuttered off both the upstage and
downstage masking legs. The stage
right, or onstage, edge of the light has
been shuttered to square off the
pattern as we see it on the floor. [No 1
Torm Left 4, No. 1 Torm Right 1]

Figure 16

[The dancers are moving into

the stage right light, so the stage
left shin buster is providing fill
light. As an alternative, the high
side light could come from an
ellipsoidal hung on the right end
of the First Pipe. -LW]

High torm diagonals. Ellipsoidals in

the first and second bay stage left, no.
1 torm left no. 1 ellipsoidal and no. 2
torm left no. 1 ellipsoidal . Focus is to
center and covers the figure from left
to center stage. [No. 1 Torm Left 1,
No. 2 Torm Left 1]

Figure 17

[A second ellipsoidal, focused

to the center line could be added
to light the dancers from center to
stage right. A similar effect could
be produced with Pipe Ends.
Notice that each bay has its own
set of Torms. Most dance
programs were done with four
bays requiring a minimum of eight
booms. -LW]
To the high torm diagonal ellipsoidals
we add a midtorm fresnel x-light in
the first bay, no. 1 torm left no. 2
fresnel. The addition of the fresnel in
the first bay gives more distance and
separation to the two figures. The
fresnel is focused straight across for
full x-stage coverage in the first bay.
[No. 1 Torm Left 1 - 2, No. 2 Torm
Left 1]

Figure 18
To the high torm diagonals (No. 1
torm left, no. 1 ellipsoidal and no. 2
fresnel. No. 2 torm left, no. 1
ellipsoidal) we add the box boom left
ellipsoidal. (See Figures 10, 11, 17
and 18.) [Box Left, No. 1 Torm Left 1
- 2, No. 2 Torm Left 1]

Figure 19

[The addition of the diagonal

front light from the Box Boom will
fill in some of the shadows.. -LW]

Combination: Ellipsoidal x-light. No.

1 torm left no. 3 ellipsoidal, no. 1 torm
right no. 3 ellipsoidal. Fresnel x-light.
No. 2 pipe no. 1 and no. 4 fresnels. All
focused to center stage. (See Figures 1
and 13.) [No. 1 Torm Left & Right 3,
No. 2 Pipe 1 - 4]

Figure 20

[Some front light from the Cove

or Balcony Rail would help the
audience see the actor's face. LW]

Combination of the center ceiling

cove ellipsoidal with the no. 2 pipe no.
1 fresnel. The frontlight by itself is
flat, but by adding the no. 2 pipe end
x-light we begin to achieve a little
modeling on the figures. [Cove
Center, No. 2 Pipe 1]
Figure 21
Now by adding the no. 2 pipe fresnels
from both ends of the pipe (lamps no.
1 and 4) and taking a lower-intensity
reading on the frontlight, we still have
good "face" light from the front but
better modeling. (See Figures 1 and
9.) [Cove Center, No. 2 Pipe 1 - 4]

Figure 22

[The combination of frontlight

from the ceiling Cove and cross
light from the ends of the Second
Pipe makes a good, all purpose
general wash. The addition of
Backlight would improve
separation. Compare the light on
the faces in this figure with the
face light in Figure 21 -LW]

Combination. No. 1 torm left,

ellipsoidal no. 4 as an uplight, hitting
the back of the figure on stage left; no.
1 pipe ellipsoidal no. 3 as a downlight
on the figure center stage. [No. 1
Torm Left 4, No. 1 Pipe 3]
[A dramatic image for a brief
moment in a show. Compare with
the down lit figures in Figure 6. LW]

Figure 23
Return to the Jean Rosenthal Page

Images and text copyrighted 1972 by the estate of Jean Rosenthal and Lael
Wertenbaker
Bracketed comments copyrighted 1998 by Larry Wild, Northern State University,
Aberdeen, SD