Just a few of my looks in a couple assorted venues from my recent Experience Hendrix US Winter Tour! Lots of rock and roll, 120k with a couple ACL's and some Profile movers.

In this scene prefacing the shift in character between the protagonist and antagonist, the smog and dirt of the city infiltrates the room as the lights dim down, and the wall behind becomes a large movie screen. To invoke that sense of unnaturally harsh, dirty warmth, I slowly faded out the R02 front and side light and replaced it with an angled R20 scoop covering the whole room, creating large shadows and surrounding the audience with the same eerie glow as the characters in front of them.

The photos are a few stills and closeups of my light design for Urinetown, the Musical. The lighting is mainly high sidelight systems with some sidelight, front light, footlight, and tops. A lot of highly saturated color was used which let the texture pop. This project was my senior project as a theatre major with a focus on lighting design.

The first picture is when the lights are fading to a blackout, just after Lisabette gave a final monologue. (picture 3)
The second picture is an image of the audition room, where Casey and Lisabette are about to audition for "The Three Sisters"
The third picture is the closing scene, where the character named Lisabette spewed all her emotions in her final monologue.
The fourth picture is an image of a character named Joby, who sits as an audience member through out the entire show. (she's the fourth wall-breaker)

These photos are from a handful of scenes from the student written show Dad is Dead: Nine Letters.

The first image is of Coraline meeting our other world Mr Bobo for the first time, I used an R72 to show this other world as a bright but not right feeling world.

Image number 2 is in a dark void within this other world that "Other Mother" uses to traps Coraline and the other kids in. I used R382 for a rich dark blue feeling.
In the third image i've added in some R26 to add in the fear the "Other Mother" brings to the Musical.

Our production of Julius Caesar is set in the 60's, during the election of President John F. Kennedy. It started off with a club atmosphere, and the story continued from there. From a design perspective, I wanted to maintain a cool, but not blue atmosphere. I wanted to have the ability to create a dynamic, sharp look on one part of stage (specifically for Caesar's assassination), while also being able to have a club scene. R57 gave me everything that I wanted for a wash color, and it was beautifully complimented with R54 as front light.

Preshow photo of holiday dinner theater in our 29th year

From the play

Scenes from the play Dancing at Lughnasa. A memory play that played with the idea that sometimes we look back at memory with