Since he was little, Theater Lighting Technology proprietor and top Lighting Designer Voltaire de Jesus has been tinkering with gadgets. “I attempted to repair a damaged walkman, remote controls and a turntable,” he shares, eventually going on to conquer Technical Theater as a BA Theater Arts Graduate in UP Diliman.

Well-entrenched and highly respected in the theater scene, Voltaire is the visionary behind the lighting of several notable works, including the recently concluded Rizal X. You have to wonder though. While actors are able to enjoy the applause and adulation of audiences and fans during curtain call, where exactly is the glory for behind-the-scenes artists such as himself?

For this THEATERATI exclusive, we get to know the man behind the lights board and the philosophy behind his work. And also, how Anne Curtis figures into this whole equation.

THEATERATI: Tell us a little something about yourself.
It has been 13 years since I established my own company, Tunog at Liwanag sa Teatro, Inc. (Theater Lighting Technology).  I have 4 dogs: 2 Beagles, a Labrador Retriever, and a Schnauzer.  I love cycling. And I dream of joining the Iron Man Kona one day.

What made you gravitate towards technical lighting for theater? Did you always want to be a lighting designer?
As a Technical Theater student, I was first interested in scene design. But then, Lighting Design aroused my curiosity. Getting exposed to the craft in the different University productions made me more fascinated with it.

For performers, the thrill is being able to perform onstage, and the applause in the end. Being a lighting designer is more of a behind-the-scenes endeavor. Is there a thrill particular to your craft?
Being able to “paint the stage” for the scene and to set the mood of the play is one of the thrills of being the Lighting Designer. The compliments and audience reaction to a particular lighting cue that they find captivating is just the icing on the cake.

What has been your best or most life-changing theatrical endeavor yet?
I consider the Ayala Son et Lumière as my Best Lighting piece to date.  It’s not a theater production, but I consider it a theatrical piece. It started in 2009 and every year, I try to out-do my previous design and reinvent.

How important is lighting design to a theatrical piece of work?
Even before actors enter the stage, the lighting design sets the mood, establishes the time and paints the scene for the play. It illuminates the stage in a magical way and brings the audience to that particular space and moment the play transpires.

What are the 3 essential components to good lighting design?
One: it is very important to see the eyes of the actors. Two: Complement the set and costumes. Three: Create Magic!

Who, aside from yourself, would you consider as one of the noted lighting designers in the local theater scene?
I look up to Mr. Monino Duque. Malandi kase sya mag-ilaw.

What advice can you give to aspiring lighting designers, or even prod people out there?  
Don’t settle for anything less. Always out-do yourself. Don’t be afraid to try new things in terms of lighting design. And for stage lighting, I always remember Sir Tony Mabesa’s tricky advice:  “’Pag pangit ang acting, diliman”.

Finally, what’s next for you?
Next: Lights Designer to “No Other Concert” of Ms. Anne Curtis for 2012.