Joseph and the Amazing Technicolor Dreamcoat

Middle Tennessee State University
Department of Theatre and Dance
Tucker Theatre
April 2018

Direction by Kristi Shamburger
Musical Direction by Raphael Bundage
Choreography by Maggie Richardson
Costume Design by Melanie Mortimore
Lighting Design by Darren E. Levin
Scenic Design by Justin Reed
Sound Design by Elijah Whitney
Stage Management by Shelby Latham

Associate Lighting Design by Brain Elliott and Erin Nicole Moore
Assistant Lighting Design by Sierra Clayton and Erin Featherston

Joseph and the Amazing Technicolor Dreamcoat is the Andrew Lloyd Webber mega-musical based on the dreams of Joseph as detailed in the Book of Genesis. The show follows Joseph as he is rejected by his family, sold into servitude, his rise to prominence, and his eventual reconciliation with his family. The lighting concept for the production is drawn from the coloration, textures and intensity found in stained glass windows as well abstract religious artwork.  Paintings by Mor Kunstler, Debra Hurd, Arthur Robins, John Reilly and David Hockney became central to the development of the flow of the design for the production.  This combination allowed for great flexibility to adapt quickly to the numerous musical, movement, and acting styles explored in the book of the production.

Creating a plot that could quickly adapt to the multiple styles present in the show was a great challenge.  The design essentially consists of two lighting plots.  The first is comprised of all conventional lighting fixtures which serve as the backbone of the compositions.  The conventional plot consists of two systems of high sides, two systems of low side template, and down light systems (one with template) to illuminate and create dimension on the cast.  The second system is comprised of 23 moving fixtures (both hard and soft edged fixtures) that serve as specials for key moments of the show.  The moving light also serve to create a concert/Vegas style lighting feel throughout the production.

LED video panels were utilized as a primary part of the scenic design.  This provided a great collaboration with the lighting area. Exploring balance of intensity and content became a staple of the design process from concept to implementation in the theatre.  Careful crafting of transitions and attention to nuance between the two design areas allows for simple telling of story with a spectacular visual punch.

Integration and programming of LED video as well as lighting provided an additional challenge and new experience.  The conventional lighting rig is programmed on an ETC Eos Console with and ETC Ion Console running as a back-up console.  The ETC system triggers a GrandMA Dot2 Moving Light Console which contains all the moving light cues.  The Dot 2 also is responsible for playback of video files for the LED video tiles from a centralized video server.  The integration of all three systems together allows for one operator to run all the technology from one centralized location, increasing efficiency and consistency throughout the run of the production.