As a lighting designer, the show's I've designed include big musicals like Hair and Godspell or smaller plays like The Wolves or Middletown. Having designed a mix of intimate plays and large scale musicals I like to think I can bring versatility to the table. Also, most spaces I've designed in have had a very limited number of fixtures and circuits. My designs had to work within what was available in the space, and designing within this type of box is something I'm really comfortable doing and really enjoy as well.
As a techinican, the general experience I have in lighting consists of summer stock, regional theaters and college productions. At summer stock theater’s and regional theater's, I have been a technician. Working in environments where tech lasts less than a week; I'm used to fast pace and working quickly under the gun. The duties I was assigned included general troubleshooting, maintenance on the fixtures, and keeping electrics clean and organized. Also hanging several sections of the plot by myself with the master electrician checking in periodically as well as setting up and programming dimmer packs. A fast-paced workplace and working independently are both in my wheelhouse.
Aside from general lighting work, I’ve also worked as a light board programmer/operator, and a spotlight operator. As a programmer, I have over 200 hours of programming experience on ETC consoles. The board I'm most familiar with is the ETC Element, but I have a decent amount on the ETC Ion as well. The experience I have with programming moving lights is both from complex rock and roll effects to simply using them as solo spots. I also have plenty of experience programming LEDs as well as conventional lights, and in general, I can program both complex and simple lighting effects. As a spotlight operator, I've worked on big musicals like Chicago and Sound of Music, and I'm comfortable on your standard spot unit or an ETC S4 mounted where you need it.
I also like bad puns, Kevin Smith movies, and I love Star Wars.
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