This is the open GL of the set from the set designer's (Cat Johnson) 3D drafting. The textures were applied from scans of the paint elevations. The center of the upstage shield is translucent and is built with three separate pieces to get the right effect.
So the play begins...
Shafts of light from upstage right and we see the vague shapes of the witches.
Shafts of light come in from downstage left and combine to create a maze of light in the air, and a field of subtly changing colors on the floor and figures.
And bring out the figures of the witches with low angle sidelight cut off the floor. The figures will always be a little dark. The costume designer's (Katie Dowse) renderings are etched and colored on a black paper. They're stunning but will always be darker.
MacB and Banquo meet the witches. Are we on a collision course with wackiness, or what?!
Real life.
The shafts of light creating the "spirit world" and the Witches appearing from it.
Real life.
The angle and movement of the lights were the landscape of the spirit world and their influence into MacB's.
Our introduction to Lady M as she reads MacB's letter.
The light in the center of the upstage shield radiates through the middle and is the soft directional source that lights the scene.
Hi, honey. I'm home!
When this cue came up for the first time, the director (Dan Kern) said "Oh yeah...I remember this cue." The cue never existed before with the exception of the renderings. It warmed my heart a little...
As MacB descends into his madness there are echoes of the spirit world.
The reality world of men. Textured and colorful.
Real life.
I gave the director a couple options of various "hallways" of light. He sat with images of lighting ideas and other thoughts in rehearsal and could start staging moments based on what would be there.
Real life.
By the end of the play MacB's world is stripped of color.
Real life.
This is an animation of the keynote/powerpoint file I made for the director.