BEST OF THE DECADE:
Jeff and Mike's Favorite
LIGHTING DESIGNS OF A PLAY:
The neon, the spotlights, the color. The shadows. A real fantasia come to life.
Here, the line between lighting and projection is barely distinguishable. And rightly so. To be inside young Christopher's mind, images swirl and so do swirls of light and darkness, sometimes confusing, sometimes providing laser-like focus, and always beautiful.
In a setting that is more darkness than light, Katz's dreamlike design faded in and out just like the memories being recalled in front of us.
Not sure what I can say and still #keepthesecrets. But I will say that several times throughout the whole performance, the lighting got collective gasps. Amazing.
LIGHTING DESIGN OF A MUSICAL:
King won a Tony Award for his efforts, and it was certainly deserved. Simultaneously concrete and other-worldly, the lights were hypnotic. Whether we were way down in Hadestown, or finding our way out, the lights told the story with clarity. And can you beat the one-two punch of rock concert lighting and lamps swinging out over your head, literally dancing with the cast? Nope, you can't beat that!
Even if you only saw the film version, you still got an excellent feel for just how amazing the lighting is here. It is as tightly integrated into the storytelling as every other element of the show, and it stuns.
Not only was the stage spectacularly lit, but so was the entire theater. And in a stunning less-is-more moment, the Great Comet as a plain, modern chandelier fixture was a stroke of genius.
Sunday in the Park with George (2017) - Designed by Ken Billington, Victor Seastone and Chelsea Zalikowski
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