ABOUT ME
A Visual Storyteller
I have had the great fortune of working on some truly inspiring projects while networking with many influential and creative individuals along the way. I believe in the power of working together to create a whole that is greater than the sum of its parts. For more information about my career experience, past projects, and current work portfolio, get in touch today.
My Experience
The War of the Worlds
Lighting Assistant
Lighting assistant for "The War of the Worlds" consisted of hanging lights, running cables, programming a NEO lighting board with specific cues, fade times and effects. This project required practical lighting, learning how to rewire lighting units and practicals. A lot of this project consisted of collaborating and adjusting lighting levels, zones, and saturation with media and video imaging.
The Remarkable Flight of Marnie McPhee by Daniel Karasik
Lighting Design,
Co-crew Head
Lighting design and Co-crew head for "The Remarkable Flight of Marnie McPhee" by Daniel Karasik. In this project we learned the difficulties of lighting an actors face while they are wearing a face shield that reflects light. For this production, I had to learn and experiment with lighting a green screen space on both the walls as well as the floor. Within this production there was a large usage of media projection to build the atmosphere of the character's mind and real world, it was important that with the green screen we lit them enough to be seen but not enough for the images to be lost, again learning to work collectively with media.
Taunton House by Megan Van Der Merwe
Lighting Design,
Crew Head
Lighting Design for "Taunton House" by Megan Van Der Merwe focused more on the lighting within a victorian era library/study. A lot of research was done into the colours, shadows, and overall natural lighting you would have seen in a home study within the time period. Different methods for displaying a window on stage using lighting were explored including a stain glass window exploring the use of different instrumentation. This show featured dream sequences, my job as a designer was to light the stage in a way that differentiates the real from the imaginative.
Plaything by Anna Pidgorna & Maria Reva
Lighting Designer/Tech
Lighting design and tech for "Plaything" by Anna Pidgorna and Maria Reva included utilizing my music degree and background to complement my design. Understanding that this project was an operatic work that was not as simple as lighting a traditional theatre show. Within this project, I learned how to cue my design and my looks with appropriate shifts in music and tonality. I learned how music and color are a two languages that are one and the same. The two work together to help the audience understand the message, as a designer I learned to adapt my design to reflect this.
​
Amaryllis by Pascal Brullemans
Lighting Designer/Tech
In this project, I was able to learn new ways of lighting design and methodology when it comes to design. In this project, I worked on a design that needed to account for the use of media projection, learning how to effectively light a space without washing out media projection. The hang of the lights was a different focus than I have used before, focusing more on the side and backlighting as the set was intricate. Ultimately learning how to adapt my design to complement and work with the set. Understanding that the typical zoning that includes top, back, front, and side lighting to fill the zones would not be effective as the set was in the way. This project also helped me gain experience with different lighting boards and instrumentation, expanding my knowledge of lighting technology.
A Living Newspaper
by Julie Labagnara
Lighting Designer/Tech
In this project, I was able to learn new ways of lighting design and methodology when it comes to design. In this project, I worked on a design that needed to account for the use of media projection, learning how to effectively light a space without washing out media projection. As this project consisted of creating a world that existed within the pages of a paper, each and every scene was accompanied by media as well as heavily exaggerated. I had to take both into account within my design, making sure to be colourful and exaggerated in my design but not in a way that would take away or wash out any projection that was on the stage.
Girl in the Goldfish Bowl by
Morris Panych
Costume
Designer
This being my first realized costume design challenged me in many ways. It taught me the joys and challenges of working with performers on a daily basis, understanding the intricacies of the human body and that each body and person within the body is different with varying levels of confidence and comfort. In this project I was challenged with creating the costumes for a version of the show where the director was looking for a world that was not literal but more magical and subjective. I played on colours being a representation of personality and role within the show, yellow being joyful and youthful, blue being lost and sad, beige being stuck, and red being lustful and the 'enemy' of the little girl Iris. I found this project incredible and discovered a true love of costume design.