English

The lighting is controlled by an ETC Eos TI. Again, the cueing is subtle and gradated, designed to complement the set's movements and the script's mood shifts. "We have to follow the turntable and sometimes we have to go against it, catching it from a different angle," Behjat says. "Kudos to my programmer, Harrison Freni; he and I developed a method of approaching it. It's especially challenging when the set is spinning, and we want to get the lighting coming into the window in a continuous way. There's so much you can achieve with those [big custom units] or the lights on the tabs at stage right. But as the window is coming downstage right, I continue that idea. The cueing is complex and layered; it has so many parts and delays that correspond with the scenery, music, and acting. I don't remember how many times we did those transitions," to perfect them. A key aid for achieving this precision was Vor, the app that overlays information onto a video feed and saves it as a simple video file.

Collaboration between me, the automation team, and my programmer, Harrison Freni, on English is to figure out how we're keeping the same look and balance as the turntable is shifting. It has been a really rewarding process, but also very complex. All our queues are like so many parts, and delay what is coming in at what speed, and at what speed the turntable is starting to move. What is the acceleration? There have been so many, many layers into that. It is fascinating, but I don't think you know how complex it is, if you watch it. You feel like, oh, this turntable spins. It's OK, and the scene is still happening. But then you have to understand how difficult it is to keep that working, as the turntable moves 100 degrees.