A big week for the arts, TheatrePeople! This week I’m so excited to introduce you to a rock star in the world of theatrical production, as well as drama education and inspiration—J. Jason Daunter! At his roots a thespian, Jason has worked on some big Broadway shows over the past 15 years, and often mingles with the stars. His Projects with Jason is a great success, and he seeks to remind people that ‘they are part of something larger.’
I miss mixing shows. That thought has snuck up on me every week or so for the past several months. It’s always a tiny bit surprising because I knew I liked my job, but I’d never stopped to take stock of exactly how happy it made me. I know I’m not alone in that; all of us want to get back to our usual, wonderfully irregular lives. One of my favorite things about mixing is that there is always something to do. When I started in theatre, I dabbled in a few other jobs, but as an actor, I got bored sitting backstage for the scenes I wasn’t in and I’d end up helping the crew with set changes. As a sound designer, I found myself, despite a valiant effort to pay attention, inevitably spaced out in my seat when there weren’t problems to actively solve.
We are asking lighting experts around the world, in the “Who Lights Our World” series, some key questions about their job. Here is Ignacio “iggy” Rosenberg based in Chicago, USA (although he lives in SLC).
Defining playwrighting as just writing would be the simplest way to do so. However, this particular form differs from others. No play comes to life upon being written, unlike books where the reader is immediately immersed in one’s world. This distance between the acts of writing and staging is the reason why a playwright’s work does not end on a script’s final dot.
