BEST OF THE DECADE: Favorite Lighting Design

When it is done correctly, you don't know it is happening. All you know is that it helps create mood, place and focus. I'm talking about lighting design, a beautiful art all by itself, and just as glorious in conjunction with the other theatrical design elements. Over the past ten years, there have been many exciting designs, and it was not easy to narrow down our favorites. Here's what we did come up with!

BEST OF THE DECADE:

Jeff and Mike's Favorite

Lighting Designs

LIGHTING DESIGNS OF A PLAY:

Angels in America - Designed by Paule Constable

The neon, the spotlights, the color. The shadows. A real fantasia come to life.

The Curious Incident of the Dog in the Night-Time - Designed by Paule Constable

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.

The Glass Menagerie (2013) - Designed by Natasha Katz

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.

Harry Potter and the Cursed Child - Designed by Neil Austin

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:

Hadestown - Designed by Bradley King

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!

Hamilton - Designed by Howell Binkley

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.

Natasha, Pierre and the Great Comet of 1812 - Designed by Bradley King

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

The Chromolume. 

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