This photo is the end of the show when the ghosts of Wendla and Moritz come to the graveyard and sing to the mourning Melchior.

The lighting for All My Sons at Sierra Repertory Theatre was intentionally subtle to keep it realistic. We used a mix of blue and pink fronts to follow the story emotionally and utilized the R3220 as a high back moonlight.

The cast included:
Alyson Lindsay, Breton Nicholson, Corbin Kerr, Jessica Powell, John Combs, Michael Hampton, Michael Ludlum, Nick Ferrucci, Olga O'Farrell, Stephanie Tucker, the scenic designer was Deborah Malcolm and the costume designer was Kristine Doiel. Photographs by Rich Miller.

The house is lit for night, with blues streaming in from a window and screen door in the kitchen, as well as the orange of a streetlight entering from an implied window on the fourth wall.

Taking place over the course of Christmas Eve in a secluded home in the Southern California desert, both the scenic and lighting designs strive for naturalism. Lavenders and amber toplight provided a natural warmth, with the addition of blue top- and backlights indicating a shift to night and an increasing coolness in the text of the play. The moments surrounding the climax of the play introduced a saturate blue shatter template highlighting the papers in the air, and remaining visible for a beat before fading to black.

The interior of the house is lit with just a hint of cool sides in R3206 + R119, backs with with no color R119, and fronts in R3204+R119. When the back walls burst open, cold back diagonals in R3220 shine through the set, accenting the haze and snow and transporting us to the evening winter garden.

These photos were taken during the disco fantasy scene. I used a series of macros and strobes to complete the look.

The cast is cheering at the end of the play where the conflict of the play becomes resolved.

The cast members of the show Forever Plaid, are introducing themselves to the audience.

Photos from Old Saybrook High School's production of Les Miserables

In conversations with the director we decided we wanted a subtle unnatural feeling to permeate most of the scenes, the show was also staged as though being performed by a troupe from the time period of the show. So I choose to put Gaslight Green in the front light to create that unnatural sensation and also as a nod to the stage lighting of the time. There is also Medium Blue in the toplight of the second photo and a diagonal back system with Light bastard amber in the third photo. The backlight in the first photo has no gel in it.