Intermission look for Act II, which begins with a big "production values" musical number.

Misc. Production shots from Shrek

Basement scene in Larry Kramer's The Normal Heart

R339 and R80

Nightingale 1 - Bacchae festival, full of life and color, and lit by fire, I used a lot of rich purples, oranges, reds, and other similar hues.
Nightingale 2 - Thrace, a place of drab, of war. Used neutral gray and cool colors to create a lifelessness.
Nightingale 3 - Nighttime by a pool of water, I used the drab colors of Thrace to set the scene, but with vivid blues on the pool to make the actress pop in the pool.

The director based this play on a spaceship as if the play is being performed to an audience on a space station.

Lights I designed for Alice In Wonderland:
Photo 1: Show the introduction of the mad hatter scene. My fronts were R02 and R60. The cyc colors are R395, R325, and R347 with an R160 over them. My color wash for that scene consisted of R21(side lighting), R87(back lighting), R3202(side lighting), and R325(color).
Photo 2: Is the scene with Humpty Dumpty talking to Alice and later falling off the

Dance showcase

The first photo is of the preshow look for my Junior year lighting design assignment of "La Guerra" where I took advantage of the wholly red set that was designed by accenting with R26.
The second photo is on the transition looks where I used R80 in the head highs of the dance booms to accomplish a contrast between the red on the floor and back wall and the actors.

This production of Fathers and Sons had two sets, an exterior and an interior. The mood of the exterior scenes were heavily driven by the time of day. The first picture is the sunrise look which was faded into with a 20 minute cue from 'night' as people entered the theatre. The next two photos are from a scene that took place at sunset. The whole scene was a transition from late afternoon to twilight to night. The last two photos are of the second set which was interior.