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.
Creative (and Inexpensive) Tools
Also consider varying the atmospheres by using gobos. Textured light can be very effective as a design tool. If you can't afford manufactured pre-cut gobos, consider creating your own by cutting designs out of pie tins.
Another powerful tool to use is a video projector. Your church probably already owns at least one for their services, so why not use it? Try pointing it towards the stage (if it is a front projector) and use videos for effects. We do this all the time in theatre and opera, so why not use it in your worship service?
You can create your own videos with inexpensive computer video editors like iMovie. If you need a desert scene, just find some footage and project it onto the stage (or background). There are many sites on the Internet with royalty-free video footage that you can use. You can even use still images and run the video images as slides from PowerPoint.
As creating lighting atmospheres can be a long process, be sure to leave enough lighting rehearsal time to do this. A good rule of thumb is to reserve at least one hour for each scene. Use a memory lighting controller so you can record lighting cues and play them back accurately. There are many inexpensive lighting controllers available, even some that you can run off a PC or MAC computer.
Maybe your budget restricts you from hiring a professional lighting designer. If that is the case, I suggest you investigate your local universities and ask the theatre departments if there are any lighting students who may be interested in getting professional experience by working on your show. Many of my students volunteer their work not only because it is a good cause, but also to garner experience and receive a design credit.
Let's not forget that the most powerful tool to use is your congregation's imaginations. You do not have to re-create every realistic moment. The idea is to inspire the congregation's imagination. This creates powerful effects that no lighting design can ever match. Remember, the congregation knows that it is in a church watching a holiday pageant. Your job is to create such ideas in their imaginations.
Through the power of light, you can make your Easter Pageant an even more memorable experience for you and your congregation. Keep it simple and allow your lighting design to express your ideas. After all, it is the story that's important.
