There is never enough time and even though we've been doing it for a long time, it always happens that we run out of time during cueing.   Part of it is just the joy of looking at color effects on stage without the pressure of a tech situation, but also, the new equipment this year took more time to cue into our lecture.     In the color lecture (this year we called it Color Therapy) we look at light on the stage (rather than photographs of stage lighting) and talk about what we're seeing.   How color is mixing together (or not) and how different colors relate to each other.  

In a recent interview with a write from the NY Times, I said that I was interested in 'chordal' relationships among colors in light.   It was not a formed thought when I said it, but the more I've been thinking about it, the more I think that color palettes are related to chords in music.    I wonder if anyone has ever done a scientific study of this?   I imagine that one way to do it would be to optically scan paintings from different artists into a computer and have a computer measure the colors in the palette of the work.   Perhaps there would be a numerical relationship between how colors appear next to each other or within compositions that would become apparent over a large survey of art.     This is similar in many ways to the work that Josef Albers did in his color study paintings, but I'm thinking of a larger survey of many different painters.   

Now, to get back to the color lecture.   Every year that we do this, I'm reminded of the vagaries of what we do.   Everything changes in our lecture when a lighting unit is mis-tuned or the wrong lens or 750w vs a 575w lamp.   If you're dealing with subtlety, everything matters.     

In our work, everything onstage matters.   Fight for the time to make it right.    Use the time that you are given in the most productive way: actually looking at the stage and experiencing the light directly.