Behind the Scenes

	Travis Neff

Name:  Travis Neff

Birthplace:   Miami

City of Residence:  Miami

Occupation:  Lighting Designer

How long have you been a lighting designer
Getting paid for it?  Since 1995.

What got you interested in lighting?
It was when I was in the ninth grade at Ransom Everglades, my drama teacher was Jane Klienman.  We produced (and toured) the play Harvey and I got actively involved in the artistic development of each technical element.  I even asked my parents if I could borrow the screen door from the back porch at home for the stage scenery.  When I focused a par-can light onto it and learned how to make the “scrim effect,” I was able to create Harvey’s “magical appearance” for the show.  It was that magic of lighting that got me hooked.

What is involved in creating the lighting for a show?
I think it is important to understand how lighting—or not lighting—a space creates an ambience that is felt by the onlooker.  To me, lighting a performance is intensifying an audience’s particular mood or experience of a show.  A lighting designer decides how to create each moment, using colors, various lighting levels and setting the timing for each cue in order for an image on stage to be felt, if that makes sense. 

How much of your direction for lighting is in the script and how much is of your own design?
Actors who study a play are told to take out all the punctuation in order to own the work on stage.  First, I typically take note of the details described in a script, but trust that I am able to create my own atmosphere on stage that evokes a reaction within the same spirit of the playwright’s intentions.  Furthermore, defining a show’s concept as a team is so much more fun.  My favorite part of the design process is being at the first production meeting where all the designers share their perspectives and different ideas get bounced around at the table.  It’s those first impressions that are the basis of my design.

How has lighting a show changed over the years?
It seems impossible to keep up with the rapidly-growing changes in technology.  That not only includes things like how you present concepts, draw light plots or maintain updated paperwork, but also the type of fixtures that are available, the gadgets, the moving (intelligent) lights, color changers, lighting consoles and new software that are coming out every three months.

What shows present the biggest challenges?
Lighting with video projection on stage.  Always definitely tricky.

What inspires you?
World premieres.  That is why I feel I have found the perfect niche with organizations like Miami Light Project, Mad Cat Theatre, Miami Contemporary Dance Company and Crystal Parrot Players.  I look forward to collaborating with established local artists and directors who are involving me (and my artistry) in the creation process of their new work.

What are the hallmarks of good lighting?
The ability to create that one picture that makes an audience remember a production.  I enjoy experimenting with lighting intensities, new breakups, odd beam angles, various lamp temperatures and, yes, even color palettes.  Visually, I get bored easily because real life doesn’t just look like one cue for ten minutes.  I think variation and the making of ever-so-subtle shifts in the lighting is the key.

What do you consider your proudest professional moment?
I would have to say winning the Carbonell Award for the Mad Cat production of Portrait.  (Support the underdog!)  It felt so great to be acknowledged for the ability to creatively define playing areas in a space as challenging as the Light Box—especially since all our money went to buying daily bags of dry ice.

What show or project have you most enjoyed working on and why?
Aside from Portrait I have two special favorites: designing The House of The Seven Gables at New Theatre (2000) and Amadeus at Mosaic (2004).  The mystery and passion in each of those productions struck an emotional chord with me.  Their respective design teams and casts of brilliant actors were incredible in providing me with an opportunity to really play with the lighting.  Even directing the actor on how to hold a candle for an entire scene because of the shadows it created on the set.  Thank you Lisa Morgan, thank you John Felix.  Good times.

What is the best thing about working in South Florida theatre?
I love the fact that I work everywhere.  Every week, I’m in a different theatre, working on a totally different production.  It keeps the creative juices flowing.  The performing arts community is so small in South Florida, and it really is like one big family to me.

Current and upcoming projects:
Here & Now, Miami Light Project’s annual commissioning of new works, opens this weekend; I will be designing in the newly-renovated Colony Theatre next month with Ray Sullivan and the Miami Contemporary Dance Company; starting to tour with Natasha Tsakos in April; and traveling to Peru and Ecuador with Teo Castallanos and the D-Projects Company, as well as to Argentina with MCDC this summer.