Three Cues, One Broken Fresnel
A Year 11 student, Ben, is taking the internal assessment for performing a technical or production role. He is lighting operator for the class production of a 20-minute play in the school hall. The rig has six Fresnels and two LED wash units. One Fresnel has a broken barn door and a cracked gel frame, and the hall's dimmer has a noisy channel. Ben has planned three cues: a warm general wash for the family kitchen, a narrow blue special for a memory monologue, and a blackout with a practical lamp. His cue sheet lists only 'LX1 GO', 'LX2 GO', 'LX3 GO' and timings. The teacher will watch the final performance and needs evidence of Ben's decision-making, safety awareness, and ability to operate cues in time with the action. Ben has one technical rehearsal and one dress rehearsal. The broken Fresnel cannot be repaired before the performance.
1. What is missing from Ben's cue sheet if it is to provide evidence for the standard? List the specific information he should add and explain why each item matters.
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Ben's cue sheet currently records only that a cue exists and when it happens. That is not enough evidence of planning, operation or safety awareness. It should add:
- Cue number and trigger: the exact line or action that starts the cue, e.g. 'LX2 GO on Mere's line "I remember the kitchen"'. This shows Ben can operate in time with the action, not just at a rough moment.
- Fixture and area: which Fresnel or LED is used and where it is focused. This shows he understands the rig and can repeat the cue.
- Intensity and fade time: e.g. 'channel 3 at 70%, 3-second fade'. This shows control and consistency.
- Colour/gel and special effect: e.g. 'Rosco 132 blue, tight pool downstage centre'. This links the cue to the design intention.
- Standby and GO calls: who calls standby and who acknowledges. This shows communication and safe operating practice.
- Contingency note: what to do if a lamp fails or the noisy dimmer channel misbehaves. This shows risk management.
- Rehearsal annotations: changes made after the technical rehearsal and why.
The cue sheet is therefore both a working document and assessment evidence. It shows Ben's decision-making before the performance, not only whether he pressed a button at the right time. The teacher can use it alongside observation notes and video to judge whether Ben performed the role competently.
2. How should Ben adapt his lighting plan given the broken Fresnel? Propose a specific revised plan and explain the trade-off.
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Safety comes first. A cracked gel frame and a broken barn door are not just inconveniences: the gel frame may not hold the gel safely, and the barn door cannot control spill. Ben should remove that Fresnel from the rig or leave it unused, after checking with the teacher or technician. He should not try to 'make do' by taping a gel to a cracked frame.
A revised plan using five Fresnels and two LEDs:
- LX1 - kitchen wash: use three Fresnels from upstage and mid-stage, focused broadly, with a warm gel. Accept slightly less even coverage than the original six-lamp plan.
- LX2 - memory special: use one Fresnel in a tight downstage-centre focus for the monologue, with one LED set to a deep blue at low intensity. The LED provides colour without needing a gel, and the single Fresnel gives a defined pool.
- LX3 - blackout with practical: keep the practical lamp on a separate channel; check that the blackout is genuinely dark and that the practical is safely placed.
The trade-off is coverage versus reliability and safety. The original plan may have given a richer wash, but the broken unit introduces risk and inconsistency. Ben should document the change and explain his reasoning in his production log: 'I removed the damaged Fresnel because the gel frame was unsafe; I compensated by widening the focus of the remaining warm wash and using the LED for the special.' This is exactly the kind of judgement the standard rewards, because it shows Ben can adapt a design under real constraints rather than blindly following a plan.
3. What evidence should the teacher collect during the technical and dress rehearsals, and what should Ben do if a cue is missed in the final performance?
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The teacher should collect evidence that shows both process and performance. During the technical and dress rehearsals, the teacher should keep observation notes recording specific actions: 'Ben called standby for LX2 four bars before the monologue', 'Ben adjusted channel 4 after the noisy dimmer flickered', 'Ben communicated with the stage manager when the practical lamp was moved'. A video of the lighting desk and the stage can show cue timing and the visual result, but the teacher should also note what cannot be seen on video, such as Ben's communication and safety checks. Ben's annotated cue sheet, production log and risk assessment should be included. The log should record the decision to remove the broken Fresnel and the reason.
If Ben misses a cue in the final performance, he should recover calmly and safely: check the standby, bring the cue in at the next appropriate moment, and avoid random blackouts or sudden full-brightness changes that could distract the audience or performers. He should tell the stage manager or teacher after the performance and record what happened in his log. A single missed cue does not automatically mean he has not met the standard; the assessor looks at the overall ability to perform the role, including communication, safety and recovery. However, Ben should not pretend it did not happen. The strongest evidence is often the recovery: a lighting operator who notices a problem, communicates, and restores the correct state is demonstrating exactly the judgement the standard is looking for.