The play is "Ajax in Iraq". In this scene a soldier replays a nightmare of killing a flock of sheep. I choose R90 to give the audience the same experience as the soldier looking through his night vision goggles. Clean and simple, it was a very effective moment.
Ajax in Iraq, NY, NY 2011
Flux Theatre Ensemble
Author: Ellen McLaughlin
Director: August Schulenburg
Costumes: Lara de Bruijn
Lighting: Kia Rogers
Sets: Will Lowry
Photographs by Isaiah Tanenbaum

Lighting Director Bill Mooney uses R104 diffusion on the PAR 64’s that light the boxing ring – as long as the truss is hung at his specified 35’. If the space necessitates a lower trim-height, then he uses E-Colour 216. E-Colour 105 is used on the PAR’s washing the audience because it gives the camera separation between audience and ring, which improves the depth of field for the HD cameras.

ESPN Friday Night Fights: [Salute to Americas Heroes – 3] (Emmy Award Nominated) and [Brinkley vs Stevens] = R104 and E105
AWE: [77a] = E216 and E105

Into the Woods
UC Irvine - The Claire Trevor Theater
Dir: Eli Simon
Scenic: Sheryl Liu
Costumes: Melody Brocious
Sound: Noelle Hoffman

R02, R05, R09, R321, R325, R27, R36, R49, R53, R54, R55, R56, R57, R58, R59, R60, R360, R64, R68, R74, R78, R378, R83, R90, R91, R132

I love using Rosco Gel for a number of reasons. First and foremost it's due to the massive selection of colors. I can always find just what I need for any particular moment. Secondly, there is a wonderful richness to Rosco color that I really appreciate.

Rosco color used: R09

The play, Adult Superstitions Part 1, is about a woman who is talking/singing skeptically to a photograph of her husband, who is at war. The photograph tries to convince her it's all right if she uses him as a substitute, but she as issues thinking of it that way.

I chose this color to create a softer feeling and more intimate mood, as opposed to the brighter interior setting that started the piece (as can be seen in the second photograph). The change happens when the woman starts to forget her qualms and give in to her desire for the photograph.

Sweet Charity
St. Ignatius High School Breen Center for the Performing Arts
Lighting Design by Bill Amato
Colors used: R27, R34, R46

During the production of "The Clean House" I looked to create an ethereal mood using the play between the voile panels and the realistic living room where the maid Matilde remembers her parents in Brazil. Matilde (Eliza Vasconcellos) is center stage, lit with R08 and R61 from the front, and R54 from the back. The cyc is lit with R124, R125 and R126 to create a light pink - orange wash. The voile panels are then back lit R33, R55, and R8 to create the wash of colors and give a transitory mood to Matilde's memories.

This was a production of Carnival at Wichita State University.
Lighting designer: Lisa Hendrix
This rosco colors I used were R01, R03, R67, R358, R17, R64, R124, and R357

Metamorphosis, produced by Minneapolis Community and Technical College, Minneapolis, Minnesota. Director: Michael Roberson; Lighting Design: Kathy A. Stewart; Set Design: Wesley Meirick; Costume Design: Barb Portinga; Composer/Sound Design: James Oestereich. Photo credit: Kathy A. Stewart.

This is a production of "Wit" by Margaret Edson that I designed my senior year. I took my first trip to Barbizon to buy all the gels, including R114, which I used to simulate a number of different hospital machines. The crosses were done with R66, giving us an awesome cool harsh feel that also worked really nicely in other scenes.

In this dance about the merging of the dancing styles of hip hop and ballet I used the gel color Rosco 58. I used this color in my design for this dance because I wanted both to bring out the red in the costumes without creating an overbearing red effect and also wanted to represent the merging of ballet and hip hop and felt that a violet was the best color to represent it as it is both energetic like hip hop and dignified like ballet.
Production credits:
Show: Student Danceworks 2011 at Cedar Crest College
Dance: The Break Through, coreographed by Chelsea Buffaloe