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These are 2 snippets of the final lighting design. I followed what heather had planned and added in my own ideas as we discussed I would do. I feel as though over all if I had gone over the top with lighting it could have ruined the piece because the main focus is the emotion of the movements and the song so I went with subtle but effective lighting for certain parts, keeping the light and dark blues in there when the piece was happier or sadder.

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Here is what my final idea looked like. We did go with the the single spotlight which worked perfectly. The dancers could stay within this space because it was big enough. The blue represents sadness because this piece is about the loss of a soldier. I feel as though the darkness around really helps set the mood of this piece also. It really brings attention to the dancers.

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Once I had my lighting que i messaged Heather to make sure it was what she wanted. She then informed me that she wanted a spotlight put in at the very end of the piece too add more effect. I didn't add this to my que, but let Richard know in our meeting.

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I wrote a rough idea of what the que sheet will be like. This was before I asked my choreographer if this is what she wanted. I watched the videos of her dancers and marked it accurately each time she needed a lighting change adding in a few ideas of my own such as the flash of light when one dancer gets "shot"

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These pictures gave me different ideas on spotlights. I initially wanted a following spotlight on the dancers but we weren't sure if that was possible. So then we decided on the second picture lighting up one part of the stage which they would dance in, the spotlight being big enough so that they don't go out of it.

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After running my ideas with Rich and Heather we came to the agreement that what she originally wanted was what we would stick with. The two profile spotlights would be placed at the back of the theatre and we would have one parcan light at the back and two at the front facing the stage to make it seem a little more 3D to the audience. This way we can also fade the lighting to darkness as the dance progresses which is what she originally wanted as the spotlights disappear.

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After discussing my initial ideas with Heather we both came to the agreement that the blue LED parcan wouldn't really look that great with her theme considering the colour scheme of her dance. So we took the idea of the blue light out and added the fading light at the front and the back of the stage.

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After reading heathers brief of lighting I came up with a few of my own ideas. Those being... Two profile spotlights in the middle of the seating area, an led parcan for different colour effects attune back of the stage and a parcan for the fading effect when the loss comes into the piece.

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After speaking with Heather she confirmed that she didn't want any moving lights just two still spotlights on her two couples that would go after awhile once they start dancing properly. Then the lighting can be normal ( light then fades to dark within the piece) for the rest of the dance.

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A profile light would be best for heathers dance this is because these can be pointed in any direction and she wants focus on certain individuals throughout. You can also add a gobo which could be a plus once I discuss the final lighting plan with my choreographer.

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Alternative ideas. Firstly, instead of a spotlight, because a spotlight won't follow the dancers it'll just stay in one place, we could have a few people that are free in the wings or sitting at the front with bright industrial style torches to light and follow the dancers on stage at that particular moment she wanted a spotlight. Or, instead of a moving spotlight we could use a single spotlight which fades in and out when needed at different places of the stage depending on where the dance is happening.

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Heather said that she wanted a spotlight following her dancers as they duet (I assume) with the lighting behind starting really light and slowly decreasing so that by the end the stage is  black.