Assassins Photos

Nice work! I especially love the bare bulbs and the nice breakups on the floor. This Sondheim piece really has a lot of fun potential for lighting and especially color.

My theater has a similar orchestra pit that sits at audience level. Is your pit masked from the front by anything? I know from a lighting designer standpoint any light coming from the orchestra pit can be frustrating...

There is a piece of pipe and drape running the length of the theatre blocking the first row and the pit from the audience.

The break ups where great fun. Here is a shot of it at the start of Something Just Broke where the break ups really shined:


This is Another National Anthem, the LED's chased red white and blue for this, backwards I might add, meaning right to left instead of left to right:


Here is the final pose at the end of Everybody's Got the Right, just before the final gun volley:


Sondheim is great fun for lighting, but a pain for singing and playing musically that's for sure. The best part is the LED's in the booths blinded the actors, so they couldn't see the pit conductor. Their cues were taken either off of me lighting them or someone on stage. They were happy that they gave off no heat however, poor Zangara had to sit in his booth getting his green on the whole show except for the first 3 scenes.

I can't wait for Chicago next year, and hopefully Sweeney Todd, which will also be great fun.

I've designed Chicago, but I didn't have any kind of color-changing lights when I did it and certainly LED and color changers would make a big difference on that show.

I had lots of R80 and R59 on that show, along with lots of no-color for downlighting the prison sequences, (Cellblock Tango!) uplighting, sidelighting and lots of big broadway style full body followspots. Lots of color for "Razzle Dazzle" (Mostly magentas, deep ambers and yellows). I SO wish I had seachangers for that show!

We are doing Romeo and Juliet (non-traditional) this Fall. I can't wait to try out the new equipment!

Chicago is planned to look a lot like this set, except more open and random. I planning on using quite a few movers and LEDs for that show, most likely DS 575 Washes and Spots for stage washes and spots/break ups, and well as Opti 30 RGBs and DLED 36s for lighting the set, and DLED Brick 36s from top and bottom for cyc wash.

It actually works out to be cheaper for both me and the client to rent them DLED 36s then cyc lights to light the cyc. It is great because of the color changes and power. The DLED Brick 12 just didn't have enough punch to cut through 750w S4s like I wanted, so I am extremely happy with the new DLED Brick 36s. Although they still don't have the punch like lining the top and bottom of the cyc with 2k cyc lights.