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.

Show: Striking 12 by Groove Lily
@Wayside Theatre - Middletown, VA
Lighting: Wes Calkin (me)
Set: Til Turner
Costumes: Tamara Carruthers
Director: Warner Crocker

Gobos:
R78221 from corners, N/C
77561 from rear, N/C

Gel:
R318 from SL
R76 from SR
From the top is Lee 132HT I think...whoops.

These are photos from the "Hope Restored" tour that Big Daddy Weave headlined, with Aaron Shust. I rarely get excited about front light colors, but a theatre guy in Canada turned me onto Rosco 351 (Lavender Mist) as a front light color, and I've used it ever since. It cools things a bit, pulls out some of those muddy browns you can get with ungelled conventionals. At the same time, it doesn't give you that "cold" look that you can sometimes get with a standard CTB filter. It's perfect for what I do.

4.48 Psychosis, by Sarah Kane
Viterbo University Theatre, Feb 3-5, 2011
Directed by David Gardiner
Choreographed by Nikki Balsamo
Lighting Design: Joe Holdman
Scenic Design: Joe Holdman
Costume Design: Rachel Wahl

Rosco colors used: R3204, R08, R317, R21, R26, R34, R47, R60, R362, R67, R70, R73, R79, R388, R92, R99, R119

Rosco Gobos Used: "Squares"

Creative Lighting Solutions used the following Gels for the backlighting to create more of a 3-Dimensional look for the video production at Lehigh Baptist Church in Lehigh, Florida. We combined the Rosco #65 Daylight Blue along with the Rosco #101 Light Frost. The combination blended created a nice even backlight and is not blinding to the congregation. We also used the Rosco #3408 on some of the front ellipsoidals and source four fixtures to help soften the front lighting.

For this particular scene, we needed to create a brilliant white cyclorama - as blinding as a snowstorm. Unfortunately, being in a New York City black box, the grid was all of 11'-0" high, and I had only 18" of depth in which to hang instruments to light this drop. Additionally, the drop had to be lit right to the floor, which meant no groundrow. 6' Ministrips from above were the only option.