A Live Show – Busking it
If you do decide to busk the show, you should plan how to do it and consider what you'll need. Try and practise and if necessary keep effects simple – most important is that the stage be seen well enough in the right places and not seen when it matters (e.g. that the lights go down to indicate the end of a scene). Something that looks simple, even using just a single colour full stage wash is still better than something that looks bad and full of mistakes. A set of pre-programmed submasters with a couple of washes and a few 'specials' is a good compromise that allows you to bring a bit of interest, yet not demand too much finger work on the faders.
Playing Back a Pre-programmed Show
As board op for a show, you must recreate lighting states as produced during the plot, at the correct point in the performance. This involves either following the script, or listening for the appropriate cue to be called. On a memory desk it may simply be a matter of pressing the Go button to advance to the next pre-programmed cue, though with a manual desk, the cross fades and presetting of all the channel levels must be done by hand.
Before the house opens it is a good idea to do a quick rig check, to ensure the desk is controlling all the fixtures correctly and the lighting states look correct – it is much easier to fix any problems without the audience! For some shows the cues may be called by a member of the stage management team. Although there are subtle variations, most commonly you will hear "LX 3 standby" a few moments before, followed by "LX 3 Go". Exactly if, how and by whom the show will be called, and cans (the backstage communication system) etiquette should be established before curtain up! Though at first nerve racking, there is often plenty of time to take most cues – it is often useful to try and relax but focus on the task in hand. If necessary, call for 'silence on cans' to cut out any dispensable chatter to aid concentration.
Summary
The board operator's tasks vary with the type of show but typically may include:
- Preparation for the show (understand the equipment, venue and cues and produce submasters/palettes)
- To assist during the focus by bring up particular fixtures efficiency
- Programming the show
- record scenes (in the desk, or with manual desks on paper) during the plot
- programme 'looks' and palettes during rehearsal
- Running the show
- Reproduce scenes (either by hitting go or manually) at the right time
- Create looks appropriate to the action live i.e. 'busking' (which is much easier with well prepared palettes and submasters)
Although daunting at first and often a pressurised role, it is important to follow the advice offered by the Hitch-Hikers Guide to the Galaxy and "don't panic". Reduce stress by thinking ahead and being less ambitious if there isn't time. Good organisation, a calm head, pre-preparation, and familiarity with the desk are key to ensuring everything goes smoothly.
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