Professional Lighting & Production - Fall 2017 - Page 35

Louise Guinand By Andrew King W hen Louise Guinand formally decided to pursue theatrical lighting design as a career, she had little in the way of role models or potential mentors. At the time, you could count the number of full-time female lighting designers in the country on one hand (or, as far as she knew at the time, one finger). Still, that didn’t stop her from embarking on a journey to become one of the most accomplished designers in Canadian theatre, regardless of gender. Though she was actually born in Australia, Guinand moved to Canada with her family before she can remember. When memories did start to form, she says many had a common theme. “From a very young age, I was just fascinated by theatre,” she shares, “and thought I’d be the next great actress, at least up until my early teens.” At that point, she realized she may not have what it took to pursue acting, and put her theatrical aspirations on ice to study math at Queen’s University in Kingston, ON while working behind the scenes in the school’s theatre on the side – mostly because she didn’t know you could make a living in the theatre without being onstage. In fact, she didn’t even know that there were specific roles dedicated to stage lighting. Then, for one fateful production, Guinand recalls being pushed into taking the lighting design role. There was just the one problem: “I knew nothing,” she admits. “I read Richard Pilbrow, and quizzed Paul Moulton, who was the tech director at the time, and then just pushed forward and lit the show.” That, she says, is the moment she fell in love with stage lighting and formally told herself: “This is what I’m doing now.” Guinand applied to the National Theatre School of Canada – “and was only interested in lighting design at a time when there really weren’t any woman doing lighting in Canada, save for Marsha Sibthorpe out in B.C.” So there she found herself, studying lighting at a prestigious institution in Montreal, passionate and undeterred. Oddly enough, her first formal job out of school was in sound design and tech, which had been part of her studies, at Festival Lennoxville and then at Montreal’s Centaur Theatre. Though she did enjoy the opportunity, she was dead set on realizing her goals, and the following year, she landed a position with Ontario’s Blyth Festival as a lighting designer and technician. From there, through referrals and reputation, she earned work with major theatre 2&GV7F2BfW7Ff26FB'&B6VFpFR&WfW&VB7G&Ff&BfW7Ffv6vVB&V6R6WFrbVff6Rf"W"FV6FW2r6&VW"fW"FR6W'6RbFB6&VW"wVB2vFW76VBfW'6FfP6vRFW&2bvVFW"&6RFVG&6ƖvFrFW6v@FW"&67FvRF66ƖW2f"FBGFW"( 2( 'WBB2FVrFR( 6RF֗G2BFB6WFW26RvFVV6W76'@Vf"6VvW2( FW&RvW&R6R6W2vW&R( B6rW2FRƖvFrFW6vW"( 2@V7BR7F6RvW&RFR7&WrFVvBBv2V2BBV6P6֖r( 2BFWvW&V( BF&VBvVFW&VƗVBv2fVR( ХFBVf'GVFVǒB6&&RGFGVFRgFVVBW"F&R&P7G&FVBF6RvVBfRƖVBFRB6V"FB6Rv26ƖpFR6G22FRFW6vW"BF&fR6RFBFVVBrvB6Pv2FrखFR2FVv6R7F'FVBFF6R6gBf"FR&WGFW"( Br6FB6VV2&WGGWfVBF( BFFRvV6֖rWFRfVBr&R&VrWBvFFR6R6Wf6( Ч6R62( 6R6W2vW&Rv2w&VB'WBFW&RvW&R6R6W0vW&RFRGFGVFRv2fW'( vWBWBbW"vƗGFRG( ( ХvR#rv2f&ǒ'W7V"6VFr&GV7F`FR6VGbW'&'22$2FN( 2rFW&r"`6W7V&V6W2f"FR7G&Ff&BfW7FfF6rBVv6f"FR6rfW7FfBv&BFR&ǗFBG&FfW7Ff26^( 07W'&VFǒVrvN( 2VgBbW"7VW"FvFR&Vf&RFw07F'BF6WvW"66VGVRf"FR#rBV&ǒ#2֗GW&RbFffW&V@&Vv&GV7F2&Vf&RVFr&6FFR"fW7Ff2FP7VW"( ĒW6VBF6fRfrג&rFVG&Rv&f"א6FVG&R&B( 6RW2( &V6W6RfRrvFFR&V0Bv7FW2'WB6fRFR6VvRbv&rvFSƖvG2@fW'2"DՂ( ФN( 2VFW'7FF&RFB66FW&rW"6&VW"66Ɨ6VG2wVB2&B&W76VBFR6R&fW76vƖvG2g&V'07BFVv6RWfVGVǒ&V62W"&FRƖvFrFRv&B&V֖W&PbVƗ&WF&W7G&Ff&BBW"F&v&Bf"FW6vr7V7G2bfPf"FRVvFVG&RB7V'6WVVBR2FW"6R66&W2W"wFP7&F2bƖvFrWfW'6W7V&RvFǒRVgBFvFVvW"66VGVR6( BV&ǒ2FV6R2Bv2&"F7F'FpW"f֖ǒwVB27FfW''fW6ǒ76FR&WBW"v&BG0&Wv&G2( ĒF( BvBFFFR6R6'Bb6rFRFR6֗pBW( 2&Bb6W7V&RBFVW66BFV6WFr&P'7G&7B( 22vN( 2frR( ФBƖR6FRGW7G'6R6vVFvW2W"VW'02vr6W&6Rb7&FBVVB( ėN( 2FRVP( 7W'&VFVBvFFBRBFW&W7FrBW6FrBv'FFr( 6R62( 2BFBW7V6ǒ6VFW2FRfVRFW6vW'2@FV662VFW&rFRGW7G'v6w&VFǒ&VVfBg&FPWW&V6Rbv&rVFW"7V666Ɨ6VB&fW762G&Wrr2FRVFF"֖6Vbb&fW76ƖvFrb&GV7Ff#r3P