The Lightning Thief was such a fun show to light! We used light to convey the story and the emotion of the characters as this epic adventure took place. We created a custom gobo of a trident and used mosaic lighting to create water for the beach and the underworld, which added a touch of magic to the scenes. I enjoyed the challenge of lighting this rock musical and travel with our stars on their journey.

This was my first time working at South Puget Sound Community College on their main stage for their production of Sunday in the Park with George. This was also my first time with Qlab and projections and learning how to balance the stage so that we could see the action AND the projection screens was a fun challenge.

Tuck Everlasting was a musical with lots of color and magic! We used light to create the magical spring and also added in LED tape into the trees that were in the background and sides to help add that ethereal touch. When we were in “normal” areas like Winnie’s home, there were no colors and just very bland in feel. But when we were in the forest, colors were used to support the story.

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.

Laura Ingalls Wilder: Voice of the Prairie was a fast-paced telling of Laura Ingalls Wilder's life and with simple roll-away sets, we again had to use light to convey location and time of day. Blues were used during the snow storm and moody lighting for the times inside the cabin.