Showing in the Dark

How to Budget for Lights

by Staff Writers    Posted 05/23/2008

Creating a budget for a show big or small can be daunting for a producer. Often, producers may not have any designers or even a director on board when formulating a show's budget. One of the most difficult things to appropriately budget - especially for new or technically inexperienced producers - is lighting. Lighting, which is fundamental to the show, is often given too little funding. Frankly, there is nothing worse than having actors in the dark. So, what steps should you take when budgeting lighting?

First, overestimate the cost. Since it is often under-budgeted, assume it will cost more. Or, think of it as though your light designer might come up with something really nifty and beautiful and you don't want to limit that if you don't have to. Plus, if the show can afford the cost and the lights come in under budget, then there is extra money left to do more marketing.

Second, consult the script. The script is rich with information to help you make lighting budget decisions. For instance, how many settings are there? Shows with many diverse settings will require a larger lighting budget. That is because these environments will require separate looks, which translate into separate sets of lights. In addition to how many and how different the environments are, it is also important to figure out how complex they are. Does part of the play take place in a dance club or a surreal wonderland as opposed to a hospital? The dance club or wonderland will typically require many more lights and more technically complicated cues than a hospital, which is likely to be a plain fluorescent light look with some accents. However, there is one more major aspect of this production of the play to consider. How realistic or interpretive is the play? This sometimes requires at least the director's general concepts for the play. A play that is heavy on magical environments but is going to be interpreted and toned down to basic sets with a few platforms and few scenic elements may mean that the lights are doing all the work or they are also interpreted and therefore plain. Knowing how abstract the play world is can really help decide how extensive the lighting will be.

Third, consult the space. If you have even an inkling of where the show will be held, check the space out for lighting. Primarily, how big is the space? A larger stage means more light unless you plan on not using part of the stage. How is the space rigged? Is there an extensive grid in the space above the stage? Does the theater have extra rigging, like boom stands? If the rigging is not very extensive, the budget may have to supplement the shortcomings of the space. In other words, a larger budget will be needed to cover the cost of not just lights, but also a place to mount them from. It is also wise to check if there is cabling on hand, dimmers, and a control board. If not, costs will go up. If dimmers are in the theater, how far are they from the actual stage and where the lights will be hung? Keep in mind that all lights need to be cabled to the dimmers. The farther the dimmers, the more cable will cost. Remember, it takes more than just the lights to make colors and effects, so let's not forget gels, barn doors, gobos, etc.

Finally, research. If you know light designers, ask them to read the script and ballpark a budget for you. You can always ask other members in the forums right here at Theatre-Inc. Do research online and find out how much rental fees are in your area. Get estimates on Theatre-inc.com via quotes. Unfortunately, there are no hard and fast rules or conversions. Just try to do as much research as possible and then overestimate. There is nothing worse than performing in work lights except performing in the dark.

Staff Writers

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The staff writers of Theatre-Inc are comprised of former and current Theatre professionals who work with the company and write regularly as well as other professionals within the company with experience to lend to the Theatre World. Many of the staff writers have worked in multiple disciplines in theatre, ranging from directing, producing, design, acting, stage management and general management. These unique perspectives provide them with a depth of experience to address issues that often frustrate theatre professionals. But, sometimes we just like to share fun experiences and things that we ourselves find humorous, frustrating, or just outrageous.