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Easter is a time of worship and celebration. Throughout our history pageants were organized and performed in recognition of this holy event. So it is natural that a big part of your church’s worship programming includes an Easter Pageant.
With the development of lighting technology, pageants seem to be getting larger and flashier every year. This may be fine for wealthier houses of worship, but how about the smaller churches with limited resources? It is not surprising that these churches struggle with meeting their congregations’ heightened production expectations. So for a church working within modest means, and trying to work within today’s economy, how do you make your show look like a million dollars?
Many of my clients ask me how to approach such a challenge. A very wise professor once told me that the true measure of successful lighting design is not how large your budget is, but how you support the actors in telling the story. Creating lighting that supports the story with your own personal approach is the essence of the art of lighting.
I have always believed that the best way to start a design is to truly understand the story and the message. The designer must be committed to the message in order to serve the performance. Singers, dancers, and actors create powerful performances because they believe in what they are doing. The same goes for everyone involved in an Easter Pageant—including the lighting designer.
Where to Begin
Be sure to identify the concept and style of your show. As this is an Easter Pageant, there is probably a theatrical element involved and, therefore, the lighting can be much more dramatic than what your congregation is used to during weekly services. You can now use deeper colors and a variety of intensities to create bold atmospheres for the story. This does not mean distracting the congregation with special effects (or what I now call “The Spiderman Syndrome”).
I like to start by meeting with the director to map out the entire holiday presentation. Study the structure of the production and make a list of its relevant moments. List the scenes and songs in chronological order on a piece of paper. Remember, like a well-composed symphony, the composition of the event should vary in dynamics and mood.
You may wish to sketch out some rough drawings for each scene. This is what we call storyboarding. The storyboards will illustrate exactly what and where you need to provide light. While talking through the presentation, discuss what each scene is about, and what the mood of the scene should be. Think about what color of light best supports that mood. Is it a bright, happy or energetic scene? Or is it dim and somber? Take notes on each storyboard so that you keep the composition of the presentation clear. You will quickly see how much variety you will need for your lighting design.
As you go through the scenes, it is important to remember that the old rule of “Less is more” holds true. Even some of the largest opera scenes I design are lit with only one or two lights. Do not restrict yourself by only considering color in light. You can also place lights in different positions. For a candlelit scene, imagine a light placed on the stage to sidelight the players. Or maybe you can place a light high and on a diagonal for a moonlit scene. Try it and see how powerful these angles can be.
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David Martin Jacques is a professional lighting designer and consultant. He has designed hundreds of productions in the United States and throughout the world. David also consults on new worship facilities and renovations. He serves as Head of Stage Design for California State University Long Beach. .(JavaScript must be enabled to view this email address)
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