The set. In Red.
Naming of Cats
Blue Moon
Staples Summer Theater
August 2006
Position: Technical Director/Lighting Designer

My goal in designing both the lights and set for CATS was to create an atmosphere that could start out a cold empty space and transform seamlessly into something more organic and complex. Through close coordination with the costume shop and the painters we were able to use saturated colors to complement the costumes and makeup.

To create a shadowy world for the cats, we had four full-stage breakup washes which gave the set a variety of moody textures. We used muted colors throughout most of the set. This gave us the ability to "activate" portions of the scenery by adding colored light. This design made it possible to dynamically expand and contract the setting in a way that wouldn't be visually upsetting.

To give us more punch during the dance numbers, when less subtlety was called for, we mounted a followspot on top of the set, hiding it behind a dense layer of netting. The followspot's position, upstage of the proscenium, allowed us to use highly-saturated over-the-shoulder light to the complement (or contrast) of the front light.

Hooray for haze Grizz Bows after Memories
The plot from CATS | More photos from CATS
The Sail!
Bamboo in Blue
Staples Summer Theater
August 2005
Position: Technical Director/Lighting Designer

Designing the lights and sets for Aida (the musical) was challenging for a number of reasons. The director's vision for the set was minimalist in nature. We decided that we would have a strong central element that could be manipulated to serve the story. The lighting, therefore, was responsible for creating the visual tone of the production.

To achieve this I had to overcome two obstacles: A limited instrument inventory, and an inflexible power infrastructure. Designing with these obstacles in mind, I was able to put together a plot capable providing both the necessary on-stage front-light as well as a series of low-shooting color and texture washes.

The centerpiece of the set was a twenty-two foot tall obelisk. To cement this piece as a symbol of Egyptian potency it was cast, throughout most of the show, in an upstage silhouette.

In scenes featuring the Nubian Slave Camp we constructed bamboo fences to stand, with toiling slaves, in silhouette against the cyc. Principal slaves were highlighted, downstage, in a slightly warmer texture wash.

More photos from AIDA