Scot Gianelli most recently did lighting design for The Rise and Fall of Marcus Monroe (ARS NOVA) and The Feast (THE FLEA). We’re excited to have him on VERONA WALLS.
Q. How do you get your ideas for a lighting design.
A. A first read of the script always gives me initial ideas about what the (literal and non-literal) world of the piece is. From there I get so much from collaborating with the director, the writer when possible, and the rest of the creative team.
Scot Gianelli on Lights
Q. What are the challenges of lighting VERONA WALLS?
A. I think for me, the biggest challenge is going to be creating the large world of the town of Verona on a very contained stage. The script gives us a wonderfully diverse set of locations from the intimate interior of a pub, to the infinite expanse of a world beyond walls, and we want each of those different locations to be unique and special and honest to the story being told.
Q. What first attracted you to lighting design?
A. I grew up with (and still have) a huge love of film, and especially so of old and often low budget noir and horror films. When I got to high school and started working in theatre, I learned how much the iconic look of those movies was because of lighting, and it was a sort of instant attachment from there.
Q. Do you feel the lights are almost like a character that inspire emotion? If so, how so in this piece?
A. Totally! Lighting is this often unnoticed and psychological presence that I think reinforces the emotions being created on stage by the actors and set, sound, etc. I think it helps us feel loneliness, fear, excitement, danger, tension, boredom etc., in a very personal and intimate way. In this play, the lighting will help us feel how something so small like a little town can be so big to someone, and how something as large and unexplored as the world outside its walls can be both terrifying and thrilling.