Each entry lists the house, the rig and the palette it was built on. Where a production is missing it is usually because the company has asked us to leave it off.
Sixteen years pass in one cue. The first half is lit almost entirely from behind and above; the second admits front light for the first time.
A staging that puts the underworld above rather than below, so every descent in the text is a physical ascent into the flies.
Side light only, for fifty minutes. No front, no down, no cyc. Six booms and a great deal of argument.
A single amber special and eleven minutes of near-total darkness. The hardest thing we have been asked to light.
A pub in the west of Ireland, lit as though the only sources were the ones on stage. Practical-led, and almost nothing above.
Nine hours, no performers, no cues. A room that changes so slowly nobody sees it happen.
That is genuinely enough to start a conversation. Dates and budget help, but they are not the first question — the first question is what the room is being asked to do.