Our cyc was used extensively to help transition between days and nights as Shaharazad told her stories to the king. Rich oranges, bright blues, and deep purples all helped create slow sunrises, sunsets, daytimes, and evenings. We also used a rich amber and a deep blue to light acting areas with contrast.

Two distinctly different moments and scenes from the play.

These photos are from our Les Miserables production and show 2 scenes from the musical.

I used R325 to create the blood moon during this otherworldly seance orgy scene for Caryl Churchill's Cloud 9. I also utilized Gam 872 and Gam 880 to create a very cold night time glow to the actors. I utilized some Rosco Ambers in strip lights hung on booms to add depth to the space and create an African sunset environment that the actors got to play in.

Photos are from the show Finding Wonderland. Multiple gel's were used for warm and cool washes, as well as neutral density in the foot lights to lower intensity on audience side.

The first was a trapeze act for our original show. The second was a section of fantasy, what it was like for the main character to be at a formal party for her father

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.