Stage lighting, made simple.
Plain-language guides for school and community theatre: what each light does, where it hangs, and how to build a rig one phase at a time. When you're ready, Stage Gear will design a lighting package around your stage.
Start with the question you have.
Written for theatre teachers and directors who want confident answers, not jargon.
How to get started with stage lighting
What lighting needs to do, why front light comes first, how DMX works in plain language, and how to build a rig in phases.
How to light a show with projection
Why stage light washes out projected images, where to hang the projector, and how to light actors without losing the picture.
More lighting guides are on the way. Have a question you'd like us to answer? Ask us.
Every light on a stage has a job.
Choose a position to see what it does, where it hangs, how many you'll typically need, and what to look for.
Front light
Lights actors' faces so the audience can see expressions. The single most important system on any stage.
- Where it hangs
- Front-of-house positions (catwalk, balcony rail or front truss), about 45° above and 45° to each side of the actor.
- Typical quantity
- Two fixtures per acting area. A small stage usually has 6–9 areas, so 12–18 fixtures.
- What to look for
- LED ellipsoidal (profile) fixtures with good color rendering and shutters to keep light off the proscenium.
- How Stage Gear builds it
- We map your acting areas, measure throw distance from your FOH positions, and choose the lens angle for each position.
Top light & stage wash
Fills the stage with even color and sets the mood of a scene.
- Where it hangs
- On overhead electrics (pipes) over the stage, aimed straight down.
- Typical quantity
- Typically 6–12 fixtures per wash color system.
- What to look for
- Even LED PAR or wash fixtures with smooth dimming and RGB+white or wider color mixing.
- How Stage Gear builds it
- We match fixture count and output to your trim height and stage width.
Moving lights usually hang here too. Pan, tilt, color, gobo and focus from the console: one fixture, many looks. Start with 2–4 quiet units your crew can program; we'll plan the DMX addressing.
Back light
Outlines heads and shoulders and separates actors from the set, so the stage looks three-dimensional.
- Where it hangs
- On overhead electrics upstage of the actors, aimed back toward the audience at shoulder height.
- Typical quantity
- Usually built as part of a wash system, typically 6–12 fixtures per color system.
- What to look for
- Even LED wash fixtures with smooth dimming and good color mixing.
- How Stage Gear builds it
- We match fixture count and output to your trim height and stage width, alongside your top light.
Side light
Sculpts the body and lights movement. Essential for dance, and a big upgrade for musicals.
- Where it hangs
- On booms (vertical pipes) or ladders in the wings, at head height and low "shin" positions for legs and leaps.
- Typical quantity
- Depends on your wing openings. Many stages start with the downstage wings on each side and add more over time.
- What to look for
- Fixtures with shutters or barn doors so light stays off the masking and the opposite wings.
- How Stage Gear builds it
- We plan side light around your wing openings and the kinds of shows you produce.
Cyc & backdrop
Paints the cyclorama or backdrop with sky, sunset or abstract color.
- Where it hangs
- From an upstage electric aimed down the cyc, and/or ground-row units at the base.
- Typical quantity
- One unit for every 6–10 ft of cyc width from the top; more for an even ground row.
- What to look for
- Asymmetric LED cyc or batten fixtures designed for an even top-to-bottom blend.
- How Stage Gear builds it
- We size coverage to your cyc height and width so there are no hot spots.
Followspot
A bright, operator-controlled light that follows a performer.
- Where it's used
- From the rear of the house or a booth, as far back and as central as possible. Common for musicals, concerts, showcases and graduations.
- Typical quantity
- One or two; bigger venues use two from opposite sides.
- What to look for
- Throw distance matched to your house depth, an iris and color changer, and LED for less heat and noise.
- How Stage Gear builds it
- We match output to the throw from your booth or followspot position.
Control
The lighting console and DMX network that run every cue.
- Where it lives
- Console in the booth; DMX runs (or wireless DMX) to each electric and FOH position.
- Typical quantity
- One console; DMX splitters or nodes as the rig grows.
- What to look for
- A console that handles your fixture count and moving lights, with cue stacks students can learn.
- How Stage Gear builds it
- We plan universes, addressing and cabling so the rig is easy to patch.
Haze & fog
Haze and fog make light beams visible and add depth and mood.
- Where it goes
- Hazers upstage or offstage with airflow in mind; fog machines for specific effects.
- Typical quantity
- One hazer for most stages; add fog machines for effects.
- What to look for
- Water-based fluid, quiet operation and DMX control. Check your venue's fire alarm (smoke detector) policy before use.
- How Stage Gear builds it
- We help you choose quiet, school-appropriate units and plan for detector coordination.
Plan your first rig in three phases.
Each phase works on its own, and each one builds on the last. Nothing has to be torn out later.
See the actors
Even, controllable light on every face.
- Front light: two per acting area
- A console with room to grow
- DMX and power planned for later phases
Why first: if the audience can't see faces, nothing else matters.
Depth and color
Actors lift off the set and scenes get their mood.
- Top and back light washes
- Side light from booms
- Cyc top light and ground row
Why next: the biggest visual change per fixture.
Specials and effects
The tools for big moments and bigger shows.
- Specials for key moments
- Followspot
- Moving lights and haze
Why last: they shine brightest on a solid foundation.
What to measure.
Send us these details and a few photos (from the back of the house, from the stage looking out, and of each hanging position and your dimmer rack). We'll design a package that fits on the first pass.
Safety first. Anything rigged overhead should be hung by qualified people with safety cables, following your venue's rules. Before using haze or fog, check your building's smoke detector and fire policy.
- Stage width and depthIncluding the proscenium opening.
- Trim heightHow high the overhead pipes or grid sit above the stage.
- Front-of-house positionsCatwalk, balcony rail or box booms, and their distance to the stage.
- Circuits, dimmers and powerHow many, where, and whether dimmed or constant.
- Existing fixtures and consoleWhat you have, how many, and what still works.
- What you producePlays, musicals, dance, concerts, assemblies, and how often.
- Budget and timingYour range, purchasing cycle, and when it needs to work.
- A few photosThe stage, the house, each position and the dimmer rack.
Request a lighting package.
Tell us about your stage and your shows. Stage Gear will design a complete, phased lighting package around your space, budget and timeline.
Updated October 2026
