Lighting design Paul Denayer
Scenic design John siendenburg
Produced at Morehead state
Dangerous liaisons

R85
R54
R376
R62

Howard W. Blake School of the Arts Presents:
Curtains The Musical

Lighting & Scenic Design: Mike Wood
Costume Design: Jared Porter
Scenic Painting: James Cass
Associate Lighting Designer: Abby May
Assistant Lighting Designers: Alex Dowling, Anthony LeFebvre

Colors Used: R02, R04, R05, R21, R26, R33, R36, R339, R55, R56, R60, R362, R65, R80, R83, R113, R118, R119

GUYS AND DOLLS
ROWAN UNIVERSITY
April 19 - 21 2013
Director: Rebecca Rich
Vocal Director: Marian Stieber
Choreographer: Henry Roy
Orchestra Director: Sal Scarpa
Scenic Design: Bart Healy
Costume Design: Brian Strachan
Lighting Design: Robert Thorpe
Master Electrician: Ryan Van Dexter
Photo Credit: Matthew Wright/Fig Tree Photography

Color Used:
R337
R318
R83
R56
R119
R4930
R84
R378
R369
R339
R383
R22
R357
R79
R54

Hello ROSCO:

Some time ago you were so kind sending me a package with many Resolux filter gels. Although I have been active in photography for more than 20 years, I am now teaching at Mount College in Newton Massachusetts. ID 218 Color and Lighting Design is one of the courses I run once a year. In this course we built in class a luminaire.

I used texture and angle in the lighting to differentiate between the two psychological worlds. Jekyll's world was lit with straight angled front light, downlight, and backlight. Hyde's world was lit with low and side angles. They both shared two hiside systems of 38 sharply focused patterns in R78465 Abstract Truss, one warm (232 Super White Flame Green to Tungsten) and one cool (728 Steel Green). These patterns look like steel beams, haphazardly thrown about the stage. The sense of other industrial architecture above the world of the play is arresting and sinister.

I needed to create a bright afternoon in an English country house. It really needed to be the appearance of no color throughout the show.

Since "no color" doesn't really exist - even lights without gel have some kind of measureable color – the challenge then becomes a bit more like answering an unanswerable question: finding the right no color.

End  Act 1 - This is from The Two Orphans by Theresa Rebeck (2005).  This is the tableau from the End of Act 1.  Plot wise, someone had just been shot and the intention lighting-wise was to leave the audience with a cliff hanger so they wouldn't know exactly what happened and be enticed to come back for Act 2.

Atruhphy feat. R30 Light Salmon Pink Cue sequence to Atrophy by The Antlers Lighting Design by Peyton Bernard

"Smile" at Visitation Academy
Lighting Design by Jeff Behm

R339
R367
R57
R80

Production photo: Jekyll & Hyde, Bower City Theater Company, Lighting Designers: Jim Tropp & Andrew Brackett. Color used: R10

I recently stage managed a production of Jekyll & Hyde this last winter. A few scenes take place in an
insane asylum and the director wanted it to be very distinctive, so the audience would understand where
the scene was taking place. The use of R10 gave the set a sense of eeriness which worked very well for
the insane asylum.