I have decided to design the lighting for the musical Rent. There are several goals to be accounted for when designing the lighting for a play. One of the first and most important goals is creating the mood. Creating an atmosphere that provides a logical surrounding for the character’s behavior is a key to good lighting design. The mood in Rent shifts dramatically from happy and
joyous to very morose and sad. Therefore lights should be brought up to high intensity with
bright colors for happy sequences and lowered with darker colors for more sorrowful scenes. Another goal for stage lighting is providing selective visibility and focus. Lighting illuminates the stage, revealing colors and forms. There obviously needs to be enough lighting to adequately illuminate anything on stage that is needed to be seen. For this type of lighting I think that there are going to be many types of color filters that can be selected from the sound and lighting board. Also, I think that there should be color gels for every color of the spectrum. That would give best color resolution across the stage. A main white spotlight is also a necessity. This spotlight should put out no less than ten kilowatts at maximum output and should have a variable aperture that can narrow and widen the beam at the discretion of the operator. The operator should also be able to competently operate the device and should have a que sheet with them and be in direct contact with the director at all times. The spotlight, as well as all of the stage lights should be able to fade in and out. 
All of the stage lights, with the exception of the primary spotlight, should be hung directly above the stage. Lights hung above the stage have the advantage of being able to cover the entire length of the stage with little obstruction. Many audience members have complained about stage lighting that interferes with their line of sight, so I believe that this type of lighting should be avoided. Actors should be reminded to always look into the spotlight when ever the rest of the stage lights are down as to make their eyes twinkle.
bright colors for happy sequences and lowered with darker colors for more sorrowful scenes. Another goal for stage lighting is providing selective visibility and focus. Lighting illuminates the stage, revealing colors and forms. There obviously needs to be enough lighting to adequately illuminate anything on stage that is needed to be seen. For this type of lighting I think that there are going to be many types of color filters that can be selected from the sound and lighting board. Also, I think that there should be color gels for every color of the spectrum. That would give best color resolution across the stage. A main white spotlight is also a necessity. This spotlight should put out no less than ten kilowatts at maximum output and should have a variable aperture that can narrow and widen the beam at the discretion of the operator. The operator should also be able to competently operate the device and should have a que sheet with them and be in direct contact with the director at all times. The spotlight, as well as all of the stage lights should be able to fade in and out. 
All of the stage lights, with the exception of the primary spotlight, should be hung directly above the stage. Lights hung above the stage have the advantage of being able to cover the entire length of the stage with little obstruction. Many audience members have complained about stage lighting that interferes with their line of sight, so I believe that this type of lighting should be avoided. Actors should be reminded to always look into the spotlight when ever the rest of the stage lights are down as to make their eyes twinkle. 
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