Leading Light with…David Howe – Part Two
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WL at Filmer Road in Fulham when David first joined.
Carousel was a special production in many ways, as at the end of its National run, Cameron Macintosh transferred the production into the West End and David was asked to join the paid creative team as Assistant Lighting Designer. However, once he had finished his work on the production, he had to move on and face: “the scary real world which was out there waiting for me”. Step forward WL, in the shape of Bryan Raven who supplied the show and liaised with David in the preparation of the rig, who made contact and asked David if he’d like to join their team. He recalls: “What could be better than working for a company who supplied equipment to shows. I initially worked in the Sales team, prepping colour-calls. As the company evolved, I was able to work more and more with designers and chief electricians of venues all over as the National Lottery funding started to roll out to new theatre development. WL was often called-upon to be involved with those capital projects where new technology was being ordered and tested. It was an amazing time to meet, not only the users of the equipment, but also the manufacturers. It was such a huge advantage to not only know about the equipment being used in the industry but how the hire and sales business works”.
The UK tour of Seven Brides for Seven Brothers
He adds: “WL were incredibly supportive of my lighting career and allowed me leave to develop my design work when I could – working in many fringe and Off-West End venues and productions where the challenge is to make the show you want within incredibly tight time-scales and small budgets. I was also continuing to assist other designers such as Paul Pyant, Howard Harrison and Hugh Vanstone”.
After a while the lighting design work began to increase, and David worked on UK tours of Fiddler on the Roof, Oklahoma, Singing in the Rain, South Pacific, Beauty and the Beast, 42nd Street, Seven Brides for Seven Brothers, to name but a few. He comments: “I was so lucky to work with amazing creatives, electricians and touring production staff during this period which really opened my eyes to the industry and the processes we need to think about to make any show happen, effectively and within budget”.
The more David worked, the more his reputation grew, resulting in him being in high demand. So much so that he reached the point where he had to make a decision: continue at WL or take the plunge and become a full time LD. It was a decision he didn’t take lightly: “I had worked at White Light for ten years (1993-2003) and really felt part of the family there. However, I thought to myself that if I don’t become a freelance lighting designer now then I never will”. David was now out in the big wide world of freelancing; something he describes as “unbelievably scary”. He recalls: “The thing about being freelance is that you’re on your own. If a show gets cancelled then you need to find another way of paying that month’s rent. That’s why you need to work really hard to keep in touch with people and build on relationships as you are only as good as your last job”.
Evita at the Ljubljana Festival in Slovenia.
Having turned freelance, David has since found himself working on some of the most exciting theatre productions both in the UK and across the globe. In the West End, he has lit, amongst others; A Comedy about A Bank Robbery, McQueen, Sweet Charity, The Last Five Years, Rent, A Christmas Carol, Bette & Joan, Birdsong and Seven Bridges for Seven Brothers. Most recently, he has lit the UK tour of Million Dollar Quartet (supplied by WL and out till June 2017). On Broadway, he has lit Private Lives, The Norman Conquests and recreated Primo and designed Opera in UK, Europe, USA and Asia. At Off West End venues his notable credits include Dead Sheep, An Audience with Jimmy Savile and The Curing Room. Judging from these alone, it’s safe to say that he has certainly been an extremely busy man! He comments: “What I really love about my role is the variety of projects I work on and the opportunities of working with many different collaborators. I believe theatre offers you the opportunity to do this more than any other profession”.
So out of everything he’s worked on (and it really is an extensive list) which project is David the most proud of? Like virtually all of the LDs I’ve proposed this question to, he doesn’t offer one answer (“I can’t”). However, there are a couple of highlights that still make his face ignite. He recalls: “The Rocky Horror Show (European Tour) was quite special. Rather than your traditional theatres, we played predominately in stadiums. I remember one night just being stood at a console surrounded by 10,000 people. It was just a surreal moment”. Equally surreal for David was when he lit the Il Barbiere di Siviglia opera at the National Centre for Performing Arts in Beijing. He states: “I was just stood on stage and I remember looking around thinking: I’m lighting an opera in Beijing!”. Another highlight was his West End debut when he lit Forbidden Broadway at the Albery Theatre (Noel Coward) in 1999.
A Comedy About a Bank Robbery which is currently running at the Criterion Theatre in London’s West End.
True to the last few years, it seems that 2017 is going to be equally as busy for David, with shows opening at the Arcola, two at the Southwark Playhouse, a play in New York and even a Hong Kong Festival production of All My Sons. Before we say our goodbyes, I ask him what I ask everyone who’s been a part of Leading Light: what advice does he have for the future generations? He draws back on his experience with Paul Pyant: “Try to keep in contact with people you meet in the industry. This industry is all about connections and there is such competition that you need to ensure you remain relevant and noticed. Even if it’s just the occasional hello or a brief email, communication is key. No matter what our pathways were to where we are now in our careers, we want to be supportive of the next wave of creatives. It’s a tough world to get those first jobs. The fringe and smaller theatres are a great way of starting as you rig,focus and plot your own show allowing you to really experiment. You can try things and, dare I say, get them wrong! It’s more than ok to make mistakes and sometimes, when you do make one, this leads to discovering something you never would have found. Be confident with your work but respect and appreciate the input of others you are working with. You need that freedom at the start of your career as you progress into becoming a professional LD. This really is a profession where you learn on the job and there is no better place”.
Our time has come to an end and David has to head over to the Arcola for a production meeting. It’s regarding The Cherry Orchard that he is lighting. I say how this is a world away from the last show of his I saw: Dick Whittington at the New Wimbledon Theatre. Yet it once again highlights the variety of work that David embraces: “Whatever the production, I always have the same goal: to create a lighting design to accentuate the piece and make sure it achieves its potential.” And as I’ve learnt this afternoon, it’s an approach that’s served him extremely well…
Photos courtesy of Chris Davis, Darren Bell, monkswellmanor, Oli Sones, Paul Pyant and Robert Workman.