Picture One: Seussical the Musical, 18' x 40' backdrop, using Rosco Off-Broadway: Sky Blue, Pthalo Green, Lemon Yellow, Emerald Green, and Ultramarine Blue.

Picture Two: The Music Man, Madison Library set piece, using Rosco Off-Broadway: Fire Red, Burnt Umber, Purple, Emerald Green, Orange, Lemon Yellow, Payne's Grey, and Van Dyke Brown.

Picture Three: You Can't Take It With You, stationary set, using Rosco Off-Broadway: Orange, Burnt Umber, Burnt Sienna, Golden Yellow, Lemon Yellow, Fire Red, Van Dyke Brown, and Raw Umber.

Roscolux #80: Primary Blue
SAS production of Grease 2011, Singapore

A Streetcar Named Desire, DramaTech Theatre, Georgia Institute of Technology, Atlanta, GA

R60, R360, R02, R42

Director: Melissa Foulger

Picture 1:

R318, fantastic character. Our Dancer on the picture (Bo Madvig) almost looked like a devil, but without overdoing a red color.

Picture 2:

R72, a very strange moody color. Made the day.

Show: Malpais (by Recoil Performance Group)
Lighting Design: Soren Knud
Scenic Design: Recoil Performance
Video Design: Jonas Jongejan
Choreography: Tina Tarpgaard

These photo's were from the DANCE 2010 University of Oregon Faculty Concert. This piece was choreographed by Shannon Mockli and was set to the Balenescu Quartet and two arias from the Magic Flute, including Arie 14 by the Queen of the Night, "Night Queens". In this piece, I used R62 in my sidelight to create a stark and shadow reliant atmosphere. Once the costumes were designed: white and highly textured, we discussed the desire for emphasizing the "whiteness with the shadowness".

In Ithaca College's production of How I Learned to Drive, I wanted to create the feeling of an early morning (just after dawn) fishing trip. I used Rosco 33 with a leafy breakup template to evoke the morning light and create a softer emotional quality to the scene.

Rosco 52, 11, 79, 27, 90 and 62.

These photos are from the 2011 Zimbabwean Music Festival, held in Corvallis, OR. Light Design: Michael Beardsworth, Board Operators: John Hatten, Alex Weeks, Conrad Rice. The combination of R62 and R11 allowed me to make skin tones pop out from the black background while maintaining a good white balance for video purposes. The more saturated colors were used for backlight to make performer shapes punch out of the background.

Stuck, an original play by Neal Haven. Was produced in 2010 by the In Tandem Theatre Company at the Tenth Street Theatre in Milwaukee Wi. Lighting design by Louis Kreienkamp. Rosco colors used R50, R316, R55, R09. Ian is a constantly travelling business professor and in this scene in act two he finally confronts Gillian, a seductress hired by Ian's wife, about the fact that he knows what Gillian is up to. Meanwhile Charlie (the wise bartender) is back-lit with R50 and R09 to mimic the scene in the foreground.

Suffolk Community College's "The Icarus Project"
Our Protagonist Daedalus beckons his son Icarus back to him, only to be left behind, and alone.
R75 as Top light washes the stage to play off the blue & green paint and reflective material present on the deck, in addition to the blue and reflective highlights present on Daedalus. With everything else black, the saturated nature of R75 effectively left all but what had to be seen in darkness.

LD Rudolf Mikkleson, Salvator Nicosia, and Jason Kankel.

For my college's performance of bobrauschenbergamerica, the color choices were very saturated. The play had many dance scenes and was also performed on a white set so myself and my co-designer chose to use very deep unrealistic colors to enhance the feeling of a dance recital/performance and utilize the white stage/set. For this particular scene we used R21 in a warm top light position, a no color special on the actor, and then R368 as a cool top light behind the wall to help define angles and shape on the actor.