Next to Normal was my biggest project to date, with over 150 light cues. The small cast of six each had their own color scheme that was utilized when they were on stage. The brainwaves in the background were also programed to be in different colors, and “strobed” with parts of the rock songs. LED bars lit up the textured background and at one point, beat in time to the “heartbeat” with the music.

The show was canceled after one weekend due to the COVID-19 pandemic, but I was fortunate to rebuild this show for the remount of this production in February, 2022.

This theatrical company did the exact same show, Scrooge, the musical the Christmas prior, and one of the challenges was lighting it differently from before. The set was completely different with a revolving “clock”, and LED bars were installed underneath that were lit every time a ghost appeared or “magic” was happening. Fog was also utilized to accentuate the atmosphere.

This musical retelling of the classic children’s story utilized a lot of zoning, as well as specific spotlights as seen here. “Hallways” were created using light as Mary and Archibald wandered the Manor, just missing each other as they passed in the darkness.

Guys and Dolls features several different locations and different times of day. This scene pictured takes place in early morning, so the stage was bathed with soft pinks and yellows. The iconic sewer scene (where the song, “Luck Be a Lady” is sung), was created using a projection light to simulate water dancing on the wall, as well as lights shining through a manhole.

Children of Eden had a large cast and the director utilized the entire stage as well as into the house. Because the show featured several different locations, the director chose to convey the mood and location of the setting via lights and we projected 6 LEDs behind a wire scrim. Pinlights, held by actors, became stars and a special was aimed into the back of the house to spotlight Father. 

The request from the director was to have Godspell be "moody, with purples and blues and no whites until the end". Using only gels, we created a very moody play and one of the most ambitious to date. Shadows were our friend, and the colors helped tell the mood of the ensemble. Several chases during some of the more upbeat songs were also incorporated.

Grease had a color scheme as well as zones. The director requested bright, fun colors - no whites. Each zone then had 6 separate colors honed in on it; purple, pink, green, blue, red, yellow. When the Pink Ladies were alone on stage, their space was lit with the pinks, reds, and purples, and the Greasers had the yellows, greens, and blue.