Here before us as we dream is the frame of the proscenium, enclosing a darkness like the darkness that quivers behind our closed eyelids. And now the dark stage begins to burn and glow under our fingers, burning like the embers of the forge of Vulcan, and shafts of light stab through the darkness, and shadows leap and shudder, and we are in the regions where splendor and terror move. We are practicing an art of light and shadow that was old before the Pyramids, an art that can shake our dispositions with thoughts beyond the reaches of our souls.
—Robert Edmond Jones, The Dramatic Imagination
Time based art. We gather in these darkened rooms to tell a story; one that is not constrained by the commonplace of realism or the demands of physical plausibility. Lighting for the theater, then, is not the faithful recreation of a moonlit balcony in the summer of northern Italy, but an experience, of youth, of impossible love, of a moment seized and held against the march of fate. It breathes with the narrative, becoming as large as the curtain-slammer at the end of the act and as small as a voice delivered to the gathering darkness. This is what I strive for on every project, that in every moment the lighting should heighten and illuminate the narrative.
It’s not bad work if you can get it, making magic every day.
I’m 30 years old and have recently relocated to San Francisco, CA, although most of the work you’ll see here is from my time working in the small theater scene in Los Angeles. I sometimes miss the grotesquely sunny weather; the traffic not at all. I’m more or less from Texas, and graduated from USC with a degree in Mathematics. I am particularly interested in shows with a high degree of technological integration and high-concept live events that defy easy categorization.
You can also check out my (mostly unrelated to lighting) blog at: