As in our architectural lighting designs, the primary goals of our stage light work are to:
PROVIDE VISIBILITY: We understand speakers better when we can see them, but this is just the beginning. We can't simply turn on the lights.
CONTROL FOCUS: To identify speakers, we may simply use lighting to pick them out of the crowd. Or we may perform a little magic trick by drawing the audience's eyes to one part of the stage while we set something up elsewhere.
DEFINE FORMS: Lighting supports sceneography and reveals shape -- the svelte dancer or rotund Falstaff.
CREATE MOODS: Lighting creates the glaring sunshine, the eerie forest, the delicate moonlight, and the romantic sunset. Lighting is so flexible that it can change the scene's mood in a second.
ESTABLISH TIME OF DAY: Lighting establishes the time of day: high noon, deepest night, and everything in between.
The performance milieu allows for greater flexibility in using lighting's tools creatively.
INTENSITY: With computerized controls, lighting is now infinitely variable at the touch of a button. Scenes are recalled instantly, without fail.
DISTRIBUTION: We can place fixtures almost anywhere in the sphere surrounding the performer.
COLOR: Our palette is immense. We can select any color from airy tints to deeply saturated tones. Through additive mixing, we can create almost any color, and we can change pigments with subtractive mixing.
MOVEMENT: This can be as simple as fading down on one speaker or another. "Intelligent" lighting fixtures now allow us to program focus cues for specific fixtures, changing beam angle, size, shape, diffusion, even color at the touch of a button (for a price, of course).
Our performance projects include:
Included in these works are 10 world-premiere ballets, a world-premiere opera, three world-premiere plays, and "Absolut Vocalese" at Carnegie Hall in New York City featuring Jon Hendricks, Al Jarreau, The Manhattan Transfer, and The Count Basie Orchestra.