Caligula: R3208, R26 and Rosco X Effects Projector
Cabaret: R90
Eurydice: R80
Urinetown: R80

Production photo: Anne Frank & Me, Linden Hall School mainstage, lighting design: Marta Williams

Colors used: R15

This particular scene was a dream sequence set in a cattle car on the way to a concentration camp. We wanted to convey the dismal mood of both emotional and physical sickness the people inside were to be feeling. Concentrating this color within a the rectangle of the car kept the space feeling confined and hopeless without using four actual walls.

This is Jesus Christ Superstar at Oklahoma City University. Lighting Design By: Jim Hutchison and Jeremy Allen Fisher. We used Rosco R39 & R77 for side light,R22 and R68 for back light,and R317 and R3204 for the floor mounted low back light systems.

Photos Taken by: JeremyAllenFisher

From "For Whom the Southern Belle Tolls," Georgetown Day School Theater. Director: Jim Mahady. TD: Will Ley. Colors used: R02, R03, R74, R81, R19, R51.

The Importance of Being Earnest
The Taft School, Watertown, CT
Lighting and Set Designer: David Kievit
Key Electrician: Blake Joblin

Used R-02 for warms, added a nice "sun" feel, R-51 for some tones, and I believe R-355 for a nice violet.

Images from my production of A Funny Thing Happened on the Way To The Forum.

Credits:

Director: Bruce Levine
Producer: Maria Randazzo
Lighting Design: Parker Conzone
Scenic Design: Daniel Going
Set Design: Thomas Callahan, Parker Conzone, Mike Bloom, Bruce Levine

Image 1: Roscolux #4790: CalColor 90 Magenta

Image 2: Roscolux #16: Light Amber

Image 3: Roscolux #100: Frost

Image 4: Roscolux #384: Midnight Blue

2011 La Salle College High School production of Blithe Spirit. Lighting Design by Colin McIntosh. Colors used: R02, R18, R303.

These three pictures are from the sewer scenes in my high school's production of Urinetown. The first picture features the rebels threatening Hope Cladwell as she is tied up. The blue, representing the night and darkness in the sewers that is in both the grate gobo and filling the stage is R74, and it is diffused by R101, except for in the gobo. There is a small circle of light for the practical, which is simply R101 and there is a very light bit of facelight made by R02 diffused with R101.

Photos 1-4 "Bernie and Alice in the club" R27, R78, R43

Photo 5 "Dan in the park" R81

Patrick Marber's Closer
Directed by Jon Minton
Lighting Design by Becca Mahar
Theatre on the Rocks - Jan 2009

I enjoy simple lighting- bold or subtle, and the Rosco colors help me to create such looks, with their wide range of durable gels.

I served as the technical director for a local community theater's children's summer camp. This production of Alice in Wonderland was so bright and colorful and so much fun to design! The set and light design was completed in about one week due to personal conflicts, and as the photo shows, there was still some work to be done on the final day of rehearsal. In this production, I explored using a pink as a key (as opposed to my standard ambers) and used R33 No Color Pink and utilized other saturated colors like R27 Medium Red, R74 Night Blue, and my favorite, R86 Pea Green!