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Rising Star Turns the Moon Red with Rosco’s Help
One of the best things about the world of theatre and live music is that it constantly inspires new generations of performers and technicians to get involved. And with more educational courses in the technical side constantly appearing, the future of the industry appears more secure than ever.
Having been manager and licensee at the ADC theatre while at Cambridge University, 26 year old lighting designer Michael Nabarro is currently a student on the Specialist Lighting Design course at the Royal Academy of Dramatic Art, due to graduate in December 2007.
Michael’s list of credits is impressive, ranging from productions by Shakespeare to Gilbert & Sullivan, Leonard Bernstein and even Barry Manilow, having been designing lighting for productions since the mid-1990s when he was at University College School in London.
Recently Rosco helped Michael to solve a tricky puzzle for a RADA production of Oscar Wilde’s Salome, staged at RADA’s John Gielgud Theatre. “Of course I’ve been aware of Rosco for years and have chatted to them at many trade shows,” says Michael. “Then earlier this year, David Lapham from Rosco came in and did a session with the students on using Rosco products. As he is an LD as well, it was really interesting to talk to him about combining products in various ways to create different effects.
“Sadly, budgets are usually so tight that what we can do in practise isn’t always so straightforward, but it was a very inspiring session.”
However, David was able to help solve Michael’s problem of creating a convincing depiction of the moon in Salome, by lending the production a glass moon gobo. “The original intention was to do the moon as part of the set, but I wasn’t convinced it would work,” says Michael. “I really wanted to use gobos for it and David really helped me by lending a visually superb moon gobo and further technical assistance.”
The moon also had to turn red as part of narrative, so to achieve that Michael projected a precisely-edged red light on top of the gobo effect. “It worked really well, I was very happy with it,” he says.
With the success of Salome, Michael is hoping that he will be able to work with more of Rosco’s product range on future productions. “I’m a good old fashioned gel person, I always prefer a light with a colour scroller to intelligent fixtures,” he smiles. “I find that you can often never quite get exactly the colour you’re after with dichroic mixing. And, to be honest, there are some colours in the Supergel range that are very hard to replicate by other means.
“Lots of Rosco’s moving effects, colourisers, etc, are also very exciting. Now I’ve seen what you can really do with them, it would be very interesting to experiment with them because there is a lot of scope for creating some very exciting effects.”
8th August 2007
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