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Lighting Design

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La Casa Azul

La Casa Azul

Columbia College Chicago 2021

Director: Annika Kuz

Playwright: Estefania Unzueta

Light Design: Hannah Bolstad

Lighting Supervisor: Heather Gilbert

Photo Cred: Hannah Bolstad

My Paperwork:

La Casa Azul takes place in Pilsen, Chicago in 2001 & 2016. The story centers Chantico, a daughter & sister, who wants more than what life has left her with. The play is about longing, loneliness and gentrification. For the design, I wanted Act 1 to be more colorful, having that warm lamp light gives off. Then there is a major shift in Act 2 to a more fluorescent white & bland look to reflect the gentrification that's taken place. The Ahuiateteo were shadowy, mysterious figures so I wanted to portray that with lighting in colors, that help convey the intensity of emotions felt in the moment. This project was my very first time doing light design for a show, and what's more (as you can see in the pictures) this show was done over zoom, in multiple rooms. In order to follow COVID-19 guidelines each actor had their own room and thus their own lighting. This was quite a challenge as each room handled the lighting differently, so I could never get them all looking quite the same. The fixtures I had utilized were 6" Fresnels, Source Four PARs, Source Fours, & ETC Colorsource PARs. The biggest inventory we had of all of them were the Fresnels, so I used those for the washes in the main theatre, while using the Source Four PARs in the dressing rooms. The Colorsource were for LED Ahuiateteo looks, while the Source Fours were used for gobo looks.

Tales of Berlin

Tales of Berlin

Columbia College Chicago 2021

Director: Carin Silkaitis & Jesse Carlo

Light Design: Josiah Croegaert

Assistant Lighting Design: Hannah Bolstad

Production Electrician: Mark Brown

Lighting Supervisor: Heather Gilbert

Photo Cred: Hannah Bolstad

Tales of Berlin is a play inspired by Cabaret, telling a very similar story of German government controlling its citizens, while they try to escape from the depressing reality of life during Hitlers' rule. This was an immersive experience, much like a museum, as the audience walked to different sections of the set to see the story playout. I was the assistant along with Rowan to my senior Josiah, the light designer and as such helped with design ideas, practical fixture advice, paperwork, programming notes, and keeping them on task. This production was interesting due to the fact we had to light through plastic. The set was made of different sections with a screen of plastic in front to separate the audience from the actors due to COVD-19. This made for difficult situations and non-conventional hanging positions. This led to many changes to fixture positions and focus during the tech process, constantly changing until the glare on the plastic wasn't as visible. In the end, it turned out looking great; however, the process was gruesome and made me learn a lot about light through different materials.

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