Burnin’ Down the House: Historical Stage Lighting

Here in the US, March is synonymous with college basketball, St. Patrick's Day, and in some circles, high school musical season. Speaking as someone who's been close with several local directors for years, I'm always amazed by the amount of planning and hard work that goes into the production - not only into acting and singing but into the applied technology as well. This year I've been particularly taken with lighting design after learning about the sheer complexity and capabilities of DMX-controlled lighting fixtures. After a little research I found myself immersed in the dazzling world of historical theater lighting.

In the Italian Renaissance, the primary means for stage lighting were candles - fitted with a metal reflector - and oil lamps. While the lamps may seem in hindsight to be the more technologically advanced choice, they were generally shunned in favor of candles due to the fact that oil lamps gave off little light, smelled like burning lard (or, at best, burning olive oil), and smoked like chimneys. The Italians developed rudimentary lighting effects as well; for example dimmers were simply large cylindrical containers lowered onto a candle. Light was focused (like our modern spotlights) by placing a large convex bottle filled with wine or colored water in front of the candle. The 17^th century saw the development of large chandeliers for lighting purposes (note the smoke in the image). The 18^th century witnessed the development of improved oil lamps such as the Argand lamp, which increased airflow and efficiency by adding a vertical chimney. This particular step forward was made possible by the late 18^th century discovery of the role of oxygen in combustion.

The greatest advancement in theatrical technology prior to electrification was the development of the limelight in the 1820s. Limelights used an oxyhydrogen flame directed at a cylinder of calcium oxide - which has a very high melting point - to create a bright, long-lasting light particularly suitable for spot lighting. Limelight floods required two people to operate as seen in the image, although gas lighting in general had the advantage of being remotely controlled by valves and pipework. The light could be colored by placing a piece of dyed transparent cloth - typically orange for sunsets and green for moonlight - in front of the gas jets.

Particularly terrifying about gas theatre lighting was the use of a pressure bag to supply the light with gas. Whereas a weight was placed on the bag to maintain pressure, uneven pressure from, perhaps, an operator tripping and falling onto the bag would result in an explosion. For this reason, many theaters required at least six or eight water-soaked blankets to be stationed on either side of the stage, so that if draperies or costumes caught fire (they frequently did) they could be quickly extinguished without consuming the building. The fact that these blankets dampened not only the fire but an engulfed person's spirits contributed to our modern use of "wet blanket."

Limelights were prevalent until the late 19^th century and were often supplemented by carbon arc lights. These had been used for special effects (such as sunrises) during the earlier part of the century but only became practical with the advent and spread of electricity; prior to this arc lights were always accompanied by gigantic batteries. Arc lights were much more efficient than limelights but not much safer: the Iroquois Theatre fire, the deadliest single-building fire in US history, was caused by a spark from an arc light.

Next time we're dragged to the theater by our significant others, we would be wise to remember: we don't have to breathe noxious fumes for three hours, won't return smelling like lard, and will likely come home alive (or at least physically intact).

(Image credits: Compulite-Danor Stage Lighting Museum | National Theatre)