“I don’t mind being in a man’s world, as long as I can be a woman in it.’ – Marilyn Monroe.
In an industry primarily dominated by men, the need for women in the lighting industry is more relevant than ever. Sadly, the female prevalence in this field is sparse but that doesn’t mean you won’t find a shining star to guide and inspire once in a while. In light of this, if you know anything about lighting design in South Africa at all, you’ll most certainly know the name Gerda Kruger. She stands among the best.
Kruger has a history in lighting going back almost three and half decades and her exposure to theatre and drama encompasses her entire life.
I caught up with Gerda in between her busy schedule to talk a little bit about her history, lighting design, women in the industry and the future of it all.
You have always had an interest in art and you continue to paint, what do you feel are the similarities between painting and lighting?
It’s all about colour. The difference is that you paint with light instead of a brush. Colour is light, after all. I studied art in my first year and then I noticed that they had a course for theatre crafts at the Pretoria Technikon and I said: “That’s what I really want to do.’
What drew you to theatre?
My parents were very involved in theatre. In the fifties my parents lived in Krugersdorp and there they were part of the Dramatic Society there. There were very involved in theatre, even though they were teachers. I used to go to every theatre piece that was held, whether it was ballet or whatever. I was very exposed to theatre. My father even wrote a musical on the Anglo Boer War. He was an incredible man and he really instilled everything in me. That is why I love theatre and art so much.
Do you feel that having an eye for art is important in being a lighting designer?
Yes. It is. You have to be creative. You can be a very good technician but if you cannot think creatively and visualise, you cannot actually become a lighting designer. Remember, you don’t really study to become a lighting designer. You actually earn that through your pee
rs.
As a young lighting designer coming up to where you are now, what do you think has changed in the industry?
Let me tell you what I think has happened. People who grew up in theatre definitely light differently to people who work in rock n’ roll. Because I’m not a rock n’ roll designer; I don’t do rock n’ roll. I approach everything in a theatrical way, even if it’s a corporate with rock, I will still light it with some sort of theatrical flair. With the demise of the performing arts councils in the late 90s, performing arts started disappearing. Students and technicians could not get work in theatre. It is the best stepping stone to work in theatre first. I am very fortunate that I had that and I feel very sorry for people who don’t get that opportunity. Training is a problem, and it’s a world-wide issue.
What do you think is the secret to longevity in the industry?
Passion. If you don’t have passion, you’re not going to succeed. If you dread every time you have a lighting job, you’re not going to make it.
Do you still get nervous before a show?
Ugh, believe me; I get very nervous because every show is unique. I get sweaty palms! But it’s very important to get nervous because that nervousness changes into positive energy. Once you get going, there is no feeling like it. We did the Blackberry 10 launch recently with the international company Smyle and I tell you, I was so nervous, but it was so great. The feeling afterwards when everything has gone well and the client is happy, what more could you ask for?
There aren’t many women in lighting design, which is by and large dominated by men. What are your thoughts on this?
I’m really saddened that there are no women coming through. They just don’t seem to last. I don’t know what happened with me and why I lasted, but I’m trying to push women to get out there and do lighting design and develop themselves. I actually started a follow spotter course because I am so sick and tired of bad follow spotting and people ruining my show. It’s a one day course. I have asked the organisation Women in Technical Production run by Melanie Eckstein to find me eight women with passion that can speak English and I will train them free of charge to develop them and get jobs. You have to start somewhere. This is what we are planning this year to give back to the industry. It’s very important to me to develop women so that they can be independent.
How do you feel about the future of lighting in South Africa?
I feel positive. But, if we don’t train future generation of technicians properly it won’t survive. I am certainly going to continue my career as a lighting designer until I die. We need to pull out all the stops and create the next generation of designers. We have the talent but we need to develop people and mentor them into those positions. I am so sad when I see mediocre work, and I know it doesn’t have to be that way. We need to push these people in the right direction.
