A Papal Mass on Sacred Ground - PLSN.com
A Papal Mass on Sacred Ground - PLSN.com
A Papal Mass on Sacred Ground - PLSN.com
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PROJECTION LIGHTS & STAGING NEWS<br />
With Caged Visi<strong>on</strong>s, at the HB Theater in New York, Kesselschmidt, director Rasa Allen Kazlas and the cast<br />
and crew made the most of a minimal set and rig.<br />
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On the shows you’ve worked <strong>on</strong> since<br />
graduating, what have you found most<br />
challenging?<br />
I think challenges and pride go hand-<br />
in-hand for me. I love solving challenges<br />
and I’m really proud when I do. I think my<br />
greatest challenge is Ballet Deviare. Their<br />
first show was Lightening the Dark. It was in<br />
a theatre that had 34 working 1.2k dimmers,<br />
75-watt bulbs and a ETC Microvisi<strong>on</strong>. They<br />
had a w<strong>on</strong>derful choreographer and a good<br />
managing director who had experience in<br />
just about everything except theatre. My<br />
job over the last five years with them has<br />
been to help turn their dream into a reality<br />
— in the most clichéd sense, but also in<br />
he most in-depth sense — because I introduced<br />
them to producti<strong>on</strong> management<br />
and stage management. Why you would<br />
want to put m<strong>on</strong>ey into a light plot, how<br />
big the plot could get, how they could make<br />
scenery useful without being impossible to<br />
design, manufacture and transport and<br />
how lighting and scenery can work together<br />
with a specific piece. Now, five years later,<br />
Ballet Deviare’s Memento Mori is a full blown<br />
ballet — 180 circuits, scenery, effects, piece<br />
specific lighting designed in detail, custom<br />
costumes — ready to perform this summer<br />
and tour this fall.<br />
Memento Mori is a perfect example of<br />
building magic from nothing. I pushed the<br />
<strong>com</strong>pany heavily to add a more pers<strong>on</strong>al<br />
element this time around, as we have de-<br />
veloped a fan base that has known us l<strong>on</strong>g<br />
enough to have an interest in us pers<strong>on</strong>-<br />
c<strong>on</strong>tinued <strong>on</strong> page 42<br />
Do you think feeling <strong>com</strong>fortable with<br />
<strong>on</strong>eself is a prerequisite for being a<br />
good designer?<br />
I find that with most students that I<br />
work with, and with the work I did as a<br />
student, the difference between getting<br />
things right and wr<strong>on</strong>g is almost purely<br />
c<strong>on</strong>fidence. Most often, people aren’t<br />
asked to do more than they know; and if<br />
they are, c<strong>on</strong>fidence helps them to know<br />
when to ask questi<strong>on</strong>s.<br />
Do you mean c<strong>on</strong>fidence in their existing<br />
abilities?<br />
Yes. The catch-22 is that c<strong>on</strong>fidence<br />
isn’t something you can make up — you<br />
do have to earn it with practice.<br />
You’ve d<strong>on</strong>e a lot of work since then —<br />
do you prefer to work in New York?<br />
I’ve d<strong>on</strong>e a seas<strong>on</strong> or two in East<br />
Hampt<strong>on</strong> and Cortland Rep and a few<br />
other places. I did a couple of seas<strong>on</strong>s of<br />
an ice show in Bost<strong>on</strong>. I love to travel for<br />
fun. I end up sticking to New York for work<br />
because I’m a New Yorker, born and bred.<br />
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