The lighting operator was responsible for programming the lights for Act 2 of We Will Rock You and operating the lighting at rehearsals and performances. At the plotting session, they would work with the design team to program lighting cues and learn how to operate new equipment. Technical rehearsals allowed the lighting operator to practice running cues on cue from the director. Minor issues with missed or added cues occurred but were addressed at dress rehearsals. The lighting operator's key responsibilities at performances were to complete pre-show checks and run lighting cues at the correct time while communicating with the director.

1. *

2. *I have been allocated the role of the
Lighting Operator for We Will Rock
You. I intend to liaise with the DSM,
Jordan, the Performing Arts tutors
and the Lighting Designer, Sam to
create suitable lighting for the
performance .

3. *As lighting operator, I must be present at all
rehearsals and prier to this, the plotting session
also.
*At the plotting session I will be responsible for
programming the lights for Act 2 of the show,
with the help of the DSM.
*I will refresh my knowledge of how the Jester
Lighting desk works and also learn / be taught
how to operate moving heads as it is something I
have never had the opportunity to do before.
*I will be following orders from the DSM and the
Performing Arts tutors as it is usually their
decision as to what they would like for specific
scenes.

4. *At the plotting session, not only will I
be programming the simple lighting
effects, I will also be applying chases
where/when they are required (in
scenes such as ‘Flash’).
*I will also be using the LED Parcans
which I have never operated before
therefore I will be learning how they
work on the desk as well.
*I have never used/ seen a lazer cage
being sed in a performance and one
will be present in WWRY.

5. *At the plotting session, a number of things could go
wrong. The main problem being the lights tripping
out.
*We realised this was due to too many lights being
paired in the dimmers and it had an effect on a
few occasions.
*We overcame this by having a member of the stage
crew turning them back on whenever they tripped.
However we knew this wasn’t the most ideal way,
therefore we were careful not to use too many
lights at once and not using them at their full
potential (not on @ 100) - apart from in the finale.

6. * The technical rehearsal would be the
first time I as the lighting operator got
to hear the cues for the lights.
*I was given the cue from the DSM, who
I communicated with via the coms.
*Sometimes cues randomly did not save
which resulted in random blackouts
which we easily fixed by editing them
/ deleting the cue. Or something we
wanted to happen didn’t – it was
resolved by us simply adding a cue in
where we wanted it to go.

7. *The next rehearsal was the dress
rehearsal(s). This was a full run-
through. For production arts as well as
performing arts, they were our last
chances to practise our roles before
the actual performance.
*All lights had been programmed and
for the lighting operator, it was a
chance to become more comfortable
with the cues and to try and remember
where/where abouts they come in and
what happens in the scene.

8. *Only minor errors occurred, such as
missing cues and adding extra cues
last minute if a certain scene wasn’t
well lit, for example in ‘Who Wants to
Live Forever’. However everything
was kept under control during the
rehearsal itself.

9. *An important task for the lighting
operators was to complete a pre-show
check on all nights of the performance.
*The two lighting operators were
responsible for switching on all equipment,
making sure it was all working properly
(we did this by running a few cues.)
*We also had to check for any burnt out
gels and replace them and refocusing the
side lights if they had been knocked
accidentally by the performers.

10. *When we were at the desk for our
allocated Act, our role was to press ‘Go’
and keep control of the Jester, ensuring
the cues were correct, whilst listening on
coms for the DSM’s stand-by cue. Only
when he said ‘go’ did we let the cue run.
*It was helpful having the DSM sat next to
me because I could follow the script in-
front of him now and again so I knew
myself where we were up to and how
close the next cue was.
*Some cues were much closer together
than others so I had to be alert,
especially during ‘Flash’, ‘We Will Rock
You’ and ‘Bohemian Rhapsody’.