In this week's Time Off Magazine review of Brontë, Brendan Lindsay wrote, "Lighting designer Jason Glenwright - well, I for one can't think of the theatre ever being so well lit".
I'd like to introduce Jason Glenwright, our lighting designer. Words don't really do justice to the creativity, passion, and genuine talent that Jason has brought to the lighting of Brontë. We are very blessed to have him.
There he is, beside our composer, Kylie Morris, in the picture below, at the first reading (you can see the creative genius silently ticking away...)
Some Questions for Jason (with photos of Brontë lighting highlights):
What's your background?
I have been working with theatrical lighting ever since high school. After graduating from high school I was lucky enough to be accepted into QUT's Bachelor of Fine Arts technical production 3 year degree and I majored in lighting design. Since graduating, I have been establishing myself as a freelance lighting designer and have already been fortunate enough to work with many industry professionals and performance companies including Harvest Rain, QSE, Backbone Youth Arts and CIRCA.
What is your vision/ design ideas for the show?
As lighting designer, I do not just light the performance but also create the atmosphere and help reflect moods of the Brontë family. I have to create lighting to define the different time eras within the Brontë's family lives, which change throughout the play. I also have to create 'mind states' for Charlotte and Emily's fictional characters as they appear throughout the production. Lighting cue wise, Brontë is massive!
What are the challenges of this particular show?
The show poses many different challenges for lighting. Largely this has to do with the venue we are performing in. The Sue Benner has very limited lighting resources available, yet the script, direction and overall set design call for various different intricate lighting states. With limited lighting instruments and facilities available, it comes down to finding what is necessary to light the performers but, at the same time, to be able to reflect the moods and create the right atmosphere for each scene. Limited time for rigging and plotting will also be a great challenge. It's situations like this that test you as a designer. This show is proving to be one of my most challenging shows to light so far.
What are the benefits/difficulties of working in independent theatre? A benefit is that it allows me to meet and work alongside new people who help develop and test me as a developing professional lighting designer. I feel so lucky to be working with the cast and creative team of Brontë, not only because they are all so talented but because they are all so passionate and dedicated about creating/perfecting their art. Difficulties from my point of view is the limited budget and resources. Although at the same time, it can also be a benefit to a young designer because it makes you think about how to create the same effect/look you can achieve with larger budgets, with little to no budget/resources what so ever.
Thanks Jason...you are a legend.