Theatre Design & Technology - Spring 2007 - 31

PHOTO: T. CHARLES ERICKSON

Love's Labor's Lost by William Shakespeare (2005, Elizabethan Theatre/Allen
Pavilion). Kenneth Albers, director; Marjorie Bradley Kellogg, scenery; Susan E.
Mickey, costumes; John Tanner, composer.

canon. Peterson's career has paralleled the
growth of the Festival. When he moved to
Ashland, Oregon in 1974, the Oregon Shakespeare Festival had two theatres; the outdoor
Elizabethan Theatre, first used in 1935, and
the 600-seat indoor Angus Bowmer, which
opened in 1970. A third theatre, the intimate
Black Swan opened in 1977. In 2002, the New
Theatre replaced the Black Swan. The performance season has grown from spring through
summer to an eight-month schedule. The Festival is one of the country's oldest and largest
professional repertory theatres. It has received
several national commendations, including the
1983 Tony Award for outstanding achievement
in regional theatre. The eleven-play season
commands a twenty three million dollar budget. As resident lighting designer, Peterson is
responsible for creating three repertory plots
and designing five individual productions. It
would seem the man who claims a big draw
Ashland held for him was its proximity to surf
and mountains made a very shrewd beginning
to his career. It's not surprising; Peterson's career has always been defined by a very strong
work ethic, a desire to learn, and not a small
amount of chutzpah.
Bob Peterson grew up in San Diego where
he attended community college. "I've been inTHEATRE

DESIGN

trigued by lighting since I was a teenager. At
the time I was a teenager it was the advent of
concert lighting." He worked several concerts
where he learned how to do a lot with a little.
He also began to realize at this time that concert
lighting led the field in technology and innovation. "You see it in the concert field, frankly, before it trickles down to the theatrical world."
Peterson initially wanted to become a performer. He soon realized he wasn't a very good
actor, but continued to work in the technical
areas. His breakthrough was stage managing a
large musical. He had helped to hang and focus the lights and to build and paint the scenery.
Calling the cues and actually seeing the results
of his work made him realize how much he preferred this view of theatre. "It was a revelation
to me, I remember, opening night to be able
to see what you produced." Peterson began to
learn as much as he could about design and
technology. He was a sophomore in college and
wanted to work on as many shows as possible.
Although Peterson doesn't refer to any particular teacher as a mentor, he does credit an older,
fellow student with teaching him the work ethic
needed. That student's self-sufficiency and example in setting goals and accomplishing them
helped Peterson as much as the other student's
knowledge of theatre.

TECHNOLOGY
SPRING

2007

Following community college, Peterson
knew it was time to leave San Diego. He wanted to continue his education and was tired of
competing with his friends for the theatre work
in the area. He originally looked at east coast
schools because he thought that was where he
was supposed to go. However, his wish not to
give up surfing, and his love for the mountains,
led him to reinvestigate west coast schools and
he decided on San Francisco State University,
which had a very active theatre program.
In San Francisco, Peterson continued his
fast pace to learn everything and to participate
in every production. He arrived at school with
only enough money for the first year. During the
summer he traveled to a summer theatre with
some friends who had jobs there. It was the Pacific Conservatory of Performing Arts in Santa
Maria. Even though he technically didn't have a
job, he worked in the scene shop for a couple
of days. Evidently he made a good impression as
he was offered a place to stay and a scholarship
for the summer.

Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2007