The designer moved two desk lamps to the floor, while continuing to use fluorescents in the other characterвЂ™s room. As technical rehearsals progressed, however, the designer and director wanted the second part of the show lit differently for one character to imply a supernatural element. In the second part of the show, the designer used the roomsвЂ™ overhead fluorescent lights to create a harsher top and back direction to the lighting. For the living room scene, our designer used two lamps with warm white light bulbs in front of the performers to create a вЂњfront lightвЂќ feeling. The first part of the show takes place in a living room, while the second part takes place in the bathroom of a restaurant. We also had a couple of auxiliary clip lights to add fill if needed. We knew we would be able to control the lighting levels by shifting the proximity of the lights to the performers. We used one desk lamp and one standing lamp in each studio. One benefit of a virtual platform is having greater control over the audienceвЂ™s perspective, which is confined to the cameraвЂ™s view. Three computers were located in the studios, one for each performer and a third to act as the вЂњcontrol,вЂќ providing the stage manager with a view of each actor.ДЄs performers rehearsed, the production team sought maximum lighting impact using minimal elements. In addition, having each performer in their own space meant they could perform without wearing a mask. Having the actors perform in classrooms meant we had more reliable internet connectivity, since student performers were not dependent on their internet connections. OverpassВ has only two characters, which meant each actor could inhabit their own studio. To maintain some control over production aspects, two classrooms were set aside as вЂњstudioвЂќ spaces. Instead, we began to think of this process more as a devised production, with many of the designers experimenting in rehearsal and developing ideas alongside the actors. We quickly learned that our traditional process of conceptualizing the design, creating a plot, and writing light cues was not going to suffice. Overpass performers Maddie Land and Emma Grow were able to change the mood of a scene by playing with their proximity to lighting instruments.

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