In a career spanning fifty-three years, defying the law of averages, Broadway lighting designer Allen Lee Hughes made it till 2024 before lighting his first production of Thornton Wilder’s fabled American drama Our Town.
The task of choreographing the lanterns with lighting fixtures fell to associate Josh Benghiat and associate scenic designer Alexis Distler. With the lighting console located in the mezzanine during tech, programmer Taylor C. Jensen was able to point out sightline issues not visible from the orchestra seats.
In a career too long to detail in this post, Hughes began his lighting journey in Washington DC and moved to New York to attend NYU in 1976. In 1982 the Arena Stage (D.C.) production of K2 moved to Broadway, earning him his first Tony nomination which he unfortunately lost to Cats. He has since been Tony-nominated four times, the latest in 2020 for a production of A Soldier’s Play.
In 2003 he received the USITT Distinguished Achievement Award in Lighting Design, has received two Helen Hayes awards, and been nominated eight other times. In 2015 he was honored by the National Black Theatre, and his teaching was honored with David Payne Carter award. His work has been seen at major theaters throughout the country, including the McCarter Theatre, Seattle Rep, Long Wharf Theatre, Goodman Theatre, Guthrie Theatre, Hartford Stage, Mark Taper Forum, Steppenwolf, Kennedy Center, and Alliance Theatre.
THE DESIGN APPROACH FOR OUR TOWN
Hughes is noted for what he describes as a “narrative approach” to stage lighting. “I try to light the actors, give an idea of space and time, and present interesting visual images – you know, typical lighting design.” In another personal first, Hughes employed an all-LED lighting rig for this show. “The lanterns prevented us from bringing in pipes to replace burnouts, so out of necessity I had to go all LED. I used about 166 ETC Source Four LED Series 2 ellipsoidals with the Lustr array as my workhorses.”
Hughes used color to express the realistic feel of Act 1, the more romantic ambience of Act 2 and the decidedly abstract flavor of Act 3. “I purposely chose my color palettes for each scene before technical rehearsals so my programmer Taylor C. Jensen could set up the console.” Taking their cue from the concert world, most Broadway shows now view moving lights as a necessity more than a luxury. In this fast-moving production Hughes used them “to pick out actors, create spaces, add texture and give me a fluid response to the show that was onstage as opposed to the one I had anticipated.” With a touch of humor he notes that moving lights also solve the problems of actors who “just can’t find their light.”
HISTORY WITH ETC
Hughes jokes that his history with ETC goes back so far, he can barely remember the name of the older products. “Between myself and my students, we’ve come across virtually every ETC product ever made. Fred Foster and I were great pals, and I have huge respect for Steve Terry.”
For those who don’t know, Steve Terry is ETC’s Director of Standards and Industry Relations – but has held many positions here, including VP of R&D. He was also instrumental in developing (and continuing to develop) the standards that shape our industry – like DMX.
“I have known Allen Lee for more than 30 years,” Terry says. “In the early years we were a supporter of his shows through Production Arts, my rental company in New York. In more recent history, ETC has had the pleasure of supporting Allen Lee’s NYU light lab by keeping it updated with the latest equipment from ETC. At least once a year, I welcome a call from Allen Lee looking for an update of the gear in the lab. We are enthusiastic about this, as it helps train the latest crop of new design talent, and it also introduces them to the ETC gear that they will be using in their professional careers.”
ACADEMIC LIFE
As Terry notes, Hughes juggles his Broadway gigs with a teaching post at NYU, where he mentors second-year classes in design. “Luckily, we have four design professionals on staff, so we can cover for each other,” he says. “And I encourage my students to sit in on cueing rehearsals and set-ups.” The classes incorporate theatre, television, architectural and live events and, as is often the case, Hughes winds up learning the latest technology from his students. “Remember that we designers often get what the local shops have in stock rather than the most current fixtures – it’s all in the timing of the show,” he adds.
Hughes believes that students with theatre backgrounds will be in demand for architectural projects because they have a sense of narrative and bring greater flair to the jobs they get.
Asked about the future Hughes says, “Theatre is changing. The demand, the requests by people, even the working habits in the theatre, are on the plate. I just tell my students to be ready when the opportunities come knocking.”