In our production of sister act, the lighting was used to create the environment within a monastry. with the use of colour correction a cold 'stone' like atmosphere was created, with warmth added to the stage through the stained glass window. Im conjuntion with the set designer, gel was used both within the lighting design, aswell as in the construction of the set, to create the effect of sunlight shining through the window, by means of backlighting with 2k fresnels.

Intermission look for Act II, which begins with a big "production values" musical number. I was going for a saturated, vibrant mood to play up the drama and fun the actors evoke.

Intermission look for Act II, which begins with a big "production values" musical number.

Misc. Production shots from Shrek

Basement scene in Larry Kramer's The Normal Heart

R339 and R80

Nightingale 1 - Bacchae festival, full of life and color, and lit by fire, I used a lot of rich purples, oranges, reds, and other similar hues.
Nightingale 2 - Thrace, a place of drab, of war. Used neutral gray and cool colors to create a lifelessness.
Nightingale 3 - Nighttime by a pool of water, I used the drab colors of Thrace to set the scene, but with vivid blues on the pool to make the actress pop in the pool.

The director based this play on a spaceship as if the play is being performed to an audience on a space station.

Lights I designed for Alice In Wonderland:
Photo 1: Show the introduction of the mad hatter scene. My fronts were R02 and R60. The cyc colors are R395, R325, and R347 with an R160 over them. My color wash for that scene consisted of R21(side lighting), R87(back lighting), R3202(side lighting), and R325(color).
Photo 2: Is the scene with Humpty Dumpty talking to Alice and later falling off the

Dance showcase