Lighting Company: Pulse Stage Lighting
Lighting Design: Bob Suchocki
Venue: SIR Stage 37, Manhattan, NY
Event: A&E Breakout Kings Premier Party

Rosco Products Used:

Gel
Rosco #22 - Deep Amber
Rosco #119 - Light Hamburg Frost
Rosco #3202 - Full Blue
Gobo
Rosco #77622 - Jail Bars Shadow
Rosco #77570 - Sponged

disOriented
By: Kyoung H. Park
Director: Carlos Armesto
Choreographer: Elisabetta Spuria
Scenery by: Adam Koch
Costumes by: Carla Bellisio
Sound by: David Lawson
Theatre C
Peter Jay Sharp Theater
New York, NY
February, 2011

main set of the production "wttc gala"

rosco 65 (daylight blue)
rosco 20 (medium amber)

some frosts and cto´s and quarter minusgreen for the fl´s

production:
"wttc conference"
burj al arab
dubai / uae
production date :
april of 2008

Dance recital at LeTourneau University's Belcher Center May 2010, Lighting Design - Matt Neighbors, Director - Tena Vogel

Roscolux gels R58 & R60 overhead, R12 high sides, R20 sidelights, R63 & R06 Front fills.

From a production of "1776" at Western Illinois University. In this scene the courier sings about the terrible nature of war in "Momma Look Sharp". A single fixture with R364 highlights this incredibly somber moment. Not only does the color help to support time of day, but removes the feeling of vibrance and life (similar to war).

Millersville University Theater
Heathen Valley
Director, Jeff Cartwright
Alumni Lighting Designer, Keith Henninger

In the photos I used a combining R02 Bastard Amber, R09 Amber Gold as front light, R13 Straw Tint as side, and R68 Sky Blue as back light. I also used R99 Chocolate with template R79119 Winter Tree.

R-13, R-15, R-20, R-70, R-93

The Consul, Menotti. Atelier Lyrique de l'Opéra de Montréal. Light Design: Francis Hamel. Directing: Oriol Thomas. Set Design : Mylène Chabrol.

This photo is from a Mime show telling the story of Orpheus and Eurydice. Orpheus is running after Eurydice as she is being pulled back into the underworld for the last time. I used a combination of R02 and R08 to light Orpheus to place him in one world, while using R66 to light Eurydice in order to place her in the underworld.

R64 color and R77272 gobo.
The director and I discussed the contrast in Godspell between the world the characters create and the world they inhabit. Although the walls are a warmer yellow, I really want the shapes and colors of the lights to juxtapose to the graffiti. So I choose the R64 and cracked glass gobo to be cool to always have the "real" world present even in the moments they are creating.
Crossroads Repertory Theatre at Indiana State University, Terre Haute, IN
Director: Arthur Feinsod
Set Designer: Dana Harrell

Annapolis Opera's 2011 production of Mozart's "The Marriage of Figaro". Lighting Design by Michael Klima.