Russell Long is currently the Lighting specialist for the Musical Arts Center at the Jacobs School of Music of Indiana University. He designs each Opera production and facilitates visiting lighting and projection designers for all other productions that pass through the Musical Arts Center. He received his master's in lighting design from Indiana University, Bloomington. He earned a bachelor's degree from Northern Arizona University and an associate's of arts from Pima Community College. Russell has toured with numerous theatrical productions around the United States. He was the Lighting Director at the Aspen Music Festival and School in Aspen Colorado. He also worked at Arizona Theatre Company as the Stage Supervisor. He is a founding member of Spotlight Youth Production where he was the Resident Technical Director and Lighting Designer. In his free time, he enjoys hiking new trails, gardening, cooking, and playing D&D with his friends.

Tell us a bit about yourself! As live entertainment technicians, we always talk about our work. But who are you, outside of your work in live entertainment? 

I really like to be outside. When I am home I like to take care of my garden and go out for hikes or bike rides. I believe it is really important to be able to go outside and unplug, especially for people who are always plugged in through our fast-paced careers. One of my favorite things to do is to just go out and explore what is around me and see new things without an agenda to see where my feet take me. 

What sparked your interest in Lighting Design? 

One of the things that sparked my interest in Lighting Design was working with designers like David Lee Cuthbert and Don Darnutzer and seeing how they could completely alter the mood and speed of a show. I was inspired by their unique mastery of their craft. I remember seeing them artfully change everything about a show in seconds and I knew that is what I wanted to do. 

USITT emphasizes collaboration across different disciplines in theatre. How do you collaborate with other members of a production team, such as designers, actors, and directors, to achieve a cohesive production? 

I like to have active conversations with other design departments and teams about what they are doing and not doing. It is important to see your coworkers not just as their job titles but who they are as people. I feel that by having these little talks I can really humanize the design process that sometimes becomes so distant and removed now that so many parts of it are virtual or remote. I also remember to always see where my collaborator is coming from to talk about and identify why they are making the choices they are making. Don’t be afraid to say why you are making the choices you are making, but don’t get defensive or guard your choices from change. Remember that you are all collaborators in this process. 

Do you have a favorite project you’d like to tell us about? 

One thing that I really like about working in this industry is the diversity of projects. Last year I was able to work on so many different types of productions from corporate events and downtown theatre in New York City to 3-hour operas in one of the largest opera houses in the country to children's theatre with 83 young performers on stage and a bus and truck christmas tour. These unique opportunities gave me the perspective to appreciate the differences that made each one unique and fun to work. 

Your bio says you’ve spent a lot of time traveling with touring productions. What’s the touring lifestyle like, for any Members who are thinking about hoping on a tour? What are the pros and cons of touring? 

Touring definitely turns production up to eleven in a lot of ways. And it is something that really can grind you down if you don't take care of yourself. Touring life is very fast-paced and keeps moving forward whether you are ready or not, but it is also incredibly repetitive. You will load in and strike the same show over and over again, and each day you will discover something new. Learn to trust your own knowledge of your equipment, but also listen to the house crew, this is their house, but remember it is your equipment. Another incredibly important rule I learned too late was to take care of yourself before you get worn down by the relentless pace of the tour. One thing I would do each morning before the venue opened is go and get a cup of coffee from somewhere in town. Know your limits and tell your production manager if you are feeling overwhelmed or burdened. They will want to help you and it is a lot easier to get you back on track than to get a new crew member. 

You're spending a lot of time designing for Operas at Jacob’s School of Music. How does designing lights for an Opera differ from designing for Theatre? 

One of the biggest differences in working on operas is the scale of the productions. Operas are big, there is no way around it, from huge choruses to monolithic sets. Coming from theatre I was used to working in smaller more intimate spaces where a light plot had under one hundred lights. My first opera had 30 feet walls, a far departure from smaller intimate theaters. Another difference is the pace. In opera, once the Maestro starts they only stop if they want to stop, and that train does not stop. For a lighting designer, this can be a challenge and has pushed me to be extra prepared and use light over rehearsals to my full advantage.

What do you consider the most rewarding aspect of being a lighting designer? Conversely, what are some of the biggest challenges you face in this role? 

One of the most rewarding parts of being a lighting designer for me is the audience and hearing how the production went for them. I really like to hear how the audience has been affected and the best is when they can't explain exactly why they are feeling a certain way, but you and the rest of the design team have worked together making choices manicuring those exact emotional responses from your audience.

One of the biggest challenges in being a lighting designer is having to do so much of your implementation while the rest of the design team and actors are waiting and watching. As a lighting designer we can not as easily pull an all-nighter working on our design, we need to be able to work and create with people waiting and watching. 

What are your favorite fixtures to play with as a lighting designer? And of course, what’s your favorite gel color? 

I do like seeing what new toys there are out in the world and I would be lying if I said I am not tempted to play with the most expensive moving lights or LEDs. It really depends on what each show needs. At Jacobs we still use scrollers. And despite their aging hardware they still do the trick. 

One of my favorite colors of gel is Gam 940. I like to put that into my mid-lights in my booms during dance shows. It has a subtle warm feel to the lavender and like Lee 711, the amber drifts in, it really has room to do its magical thing. 

USITT offers numerous resources and opportunities for professional development. Can you share how being a member has benefited your career and artistic growth? 

One of the coolest things is the conference, and being able to see all of the new and upgraded equipment, and I personally really like to see what is happening with other parts of technical theatre. I also enjoy and utilize the different classes that are being offered through USITT. 

Are you working on any projects right now that you’re excited about?

I am currently working on the rep productions at Indiana University Summer Theatre Dial M For Murder and Forever Plaid. I am also working on Newsies For Quincy Community Theatre and the rep of Suor Angelica and Trouble in Tahiti at Jacobs School of Music.