not only interested in the artistic side of lighting design, but he also contributed to the technical aspect of the art as well. In his early work as a theatrical consultant, McCandless designed specific house lights for the Center Theatre in New York's Radio City. These fixtures incorporated the use of ellipsoidal shaped reflectors, which were later developed into the ellipsoidal reflector spotlight. This lighting fixture has become the staple for theatre lighting inventories in America and England due to its ability to shape light with shutters and gobos or templates. Stanley McCandless continued to educate and design until he retired from teaching in 1964. His legacy is still felt by many lighting designers today, as his method and approach to the art are still the backbone of many educational theatre programs. McCandless method The McCandless method is a particular approach to providing stage lighting, first proposed in his book, A Method of Lighting the Stage, which has been through several editions. The McCandless method is still in wide use today. In the McCandless method, the actors are meant to be fully front lit but also provided with some "sculpting" of the features. Full lighting is provided by at least two lights from opposite sides, above the plane of the actors by about 45 degrees and approximately 90 degrees apart. These two lights come in from opposite directions. Top lighting may also be used for fill, as may limited footlights. McCandless described these angles as being the diagonals of a cube in the center of the acting area. However, the key to the McCandless method is that one light of the primary pair is "cool" relative to the other. One may be blue (a cool color, i.e. higher kelvin temperature) and the other amber (a warm color, i.e. lower kelvin temperature). Thus, one fills the shadows left by the other in a way that produces a degree of depth which is striking and recognizable on the stage, similar to stage makeup in the way it exaggerates and clarifies the actors' faces. This method of pairing a warm lantern with a cool lantern simulates sunrise in an outdoor environment, as in real life, giving the production a naturalistic (notion of realism on stage invented by Constantin Stanislavski) feel, thereby producing intimacy of the play with the audience. This coupled with the depth created, enhances the facial features of the actors, enabling