Sarah

In the third act dream ballet, the director wanted the brightness and tone of the lights to keep pace with the hysteria and the movement-it's definitely an unsettling dream ballet. The upstage panels were placed at the downstage edge of the Act I layout, and as the audience was constantly shifting it was important that the color chosen for the overall piece be able to be used from different angles for each act.

The dominant colors here were primarily color correction; our strongest front light was R367 (Slate Blue) and the backlights were mostly half CTB. Rosco gobos provided soft breakups on the canvas-like wallpaper, behind which were Joseph Cornell-styled boxes also used in the show. The evolving performance space led me to work aggressively with a variety of diffusions (R119, R132, and R104) to blur the edges and allow for more flexibility as we worked toward the climax, which crystallized everything into a moment of purity and possibility.