The opening number is "Good Morning, Good Day". The workers of Maracek's Parfumerie gather and socialize prior to the opening of the store. The number not only neatly introduces most of the characters, but defines for the audience their relationships with each other. The Broadway version called for a huge revolving set that spun to reveal the interior of the shop- I went with sliding panels that split from the middle. It worked pretty well most of the time, but there were glitches, owing mainly to a lack of time for the operators (various cast members and Shana, the stage manager) to get familiar enough with operating them on top of their numerous other duties (stage manager Shana Holder and I were literally the entire tech crew for this show).

Brian Sherwinski Sherry VerWay Zach Gipson Tony Balsamo Jason Utesch Excerpt: "Good morning, Good Day"

Although I'd designed the lighting for most of my shows, this was the first show I'd actually aimed the lights and worked the board. My apologies to my past board operators; it's much harder than it looks, particularly when I expect you to read my mind (a handicap I didn't have). Lighting at Footlight is difficult because the lights are suspended directly over the actors heads, about 2 feet away, which creates hot spots and dead spots. I solved this by covering the lights with a material, used in film lighting, called 'tough spun', which diffuses the light, softening it and spreading it out. You don't have much control, but you get an even, pleasant look. NEXT PAGE>

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