THE TEMPEST: AN ELECTRICAL ANALYSIS

 A large part of the design for THE TEMPEST revolved around the correct execution of many wiring/soldering projects. As a member of the Electrics Department at Columbia College, I was responsible for the build, and in this case design, of the projects you see below. Many of these projects needed to be quickly and accurately realized early in the production process in order to effectively communicate their purpose to the director (Tom Mula) and the rest of the design team. 

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This ship, discovered by our Props Designer (Grant Sabin), needed to be lit for the first moment of the play. Prospera carried the boat onto the stage, lit only by the light of the ship, as the storm brewed in the background. 

This ship, discovered by our Props Designer (Grant Sabin), needed to be lit for the first moment of the play. Prospera carried the boat onto the stage, lit only by the light of the ship, as the storm brewed in the background. 

I soldered and wired LED tape along the back of the ship, hiding the light source from the audience and working as a portable source of uplight for Prospera. 

I soldered and wired LED tape along the back of the ship, hiding the light source from the audience and working as a portable source of uplight for Prospera. 

I placed a battery pack that powered the LED tape inside the hull of the ship. A switch on the back of the ship, controllable by the actor, turned the LED lights on and off.

I placed a battery pack that powered the LED tape inside the hull of the ship. A switch on the back of the ship, controllable by the actor, turned the LED lights on and off.

Abigail Phelps (Prospera) holding the finished ship in the first moment of the play.

Abigail Phelps (Prospera) holding the finished ship in the first moment of the play.

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The Scenic Designer (Jesse Howe) wanted to cover the tree of the island in glowing colored bottles. The execution of this project was left up to myself and the Master Electrician (Andy Rubino). These are the bottles as they appeared initially.

The Scenic Designer (Jesse Howe) wanted to cover the tree of the island in glowing colored bottles. The execution of this project was left up to myself and the Master Electrician (Andy Rubino). These are the bottles as they appeared initially.

Due to constraints on the size of the necks of the bottles, and the translucence of the glass, the LED lights placed inside where not as bright as desired. In order to emphasize the light that was available, I frosted the exterior of the bottles to

Due to constraints on the size of the necks of the bottles, and the translucence of the glass, the LED lights placed inside where not as bright as desired. In order to emphasize the light that was available, I frosted the exterior of the bottles to diffuse and spread the light.

The lights were placed in the air by the electrics crew, and wired together into a decoder. Each of the three color types was independently controllable, allowing for a glittering effect during the show. 

The lights were placed in the air by the electrics crew, and wired together into a decoder. Each of the three color types was independently controllable, allowing for a glittering effect during the show. 

The dynamic water effect you see below was a centerpiece scenic element of the play. As lighting designer, my goal was to make the ocean drop feel alive and pulsing with the rest of the play. I chose to use a flowing mylar material and LED lights to create the effect. The LED lights allowed me to cater the tone of the ocean to fit each scene specifically. 

The dynamic water effect from the front.