This is a picture of the production of Beauty and the Beast. It was done at my high school and the director is Krista Serreti and the lighting designer was bryson frenkson. The main thing that was used was practicals but there was R 119 in most of the lights. This was a good way to help defuse the light and make a better blend when there was a limited supply of lights that we could use.

Pippin. During the song "With You", I had Pippin in a spot with R09 and side lit the dancers in R80 and backlit them in R339. The director wanted to make it seem as if Pippin was going on an "acid trip".

R85, R362, R64, R83, R365, R78221, R78170

"You're a Good Man Charlie Brown" - The Barnstormers
Steve Nachamie: Director
Emily Nichols: Scenic Designer
Kevin A. Wilson: Lighting Designer

The attached photo is from a production of The Curvature of the Earth, written by Brian Cronin, directed by Jessica Davis-Irons, and produced by Andhow! Theatre Company at the Ohio Theatre in New York. Lighting Design was by Owen Hughes. I used Rosco #4360 as the back light and accent light color for this scene. The main character is a young girl, who, among other flights of fancy, takes a trip to the moon and meets with the moon's three wise men.

This is a photo of a fundraising event I lit for Jacob's Pillow Dance Festival, where I worked a few years back. I had heard stories of the headaches the guests/staff experienced the previous season from staring at the same color for too long, so I used R79 and R21 to crossfade back and forth to keep everyone's eyes from fatiguing. As a bonus, the bounce blended into a lovely lavender color that made all the guests look quite attractive! I don't know if I can request a color, but as a BU Alum, an R361 mug would be amazing!

The image I have attached is part of the Waterloo High School production of A Tuna Christmas. It is a few years old but it was the first show I was the LD for so it still holds a place in my heart. The actors in it are from the school as well. The color that was used was mostly R60. The blue helped me express the characters feeling and struggle that the director wanted to express in this production.

'House of Blue Leaves' Baliwick Theatre, Chicago, IL. Lighting Designer: Rob Tolzien. Colors used:R80, R02, Gobos used: R77804

Colors used: R54, R09, R4930, R132, R64, R60, R55, R08

A View From the Bridge, by Arthur Miller
The Theatre School, DePaul University
Theatre Wit, Studio 3

Director: Krissy Vanderwarker
Sound Designer: M. E. Moran
Lighting Designer: Elizabeth G. Smith
Scenic Designer: Rachel Watson
Costume Designer: Kelly Neuls
Stage Manager: Belinda Bing

RENT at UW Fox Valley Fall 2010
Scenic and Lighting Design By Erick Gyrion
Assistant Lighting Design by Andrew Schmitz

Apart from our loads of white light, we used R385 as our top/rim light. We picked R385 because it beautifully clashed with the spray paint that was used throughout the set. It also worked as one of our main switches between night and day cues. R02 was used in our other top/rim light system. was great for the punches that are called for within the show.

Rosco colors were critical to the feel of "12: A Performance Piece for Twelve Actors." The Show, stark, industrial, and desolate, needed light and texture to render the very minimal set visually engaging. R3202, and R60 were used to clean up the color temperature of PAR64s and 6" Altman 750w fresnels.

R3315 was used in footlights to develop a "something is not so right" feel. This super-pale green reads as a very subtle effect.

R08 proved contrast to the stark set and environment for performer lighting and subtle skin-tone blending.