Lighting Design
Below you will find several examples of my work as a lighting designer.
Something Rotten!
In discussion with the director Jonathan Hadley, we wanted the world's reality to mimic the Globe theatre's look. To achieve this, I used a warm look for the scenes that took place in the theatre and on the street
With Soothsayer Alley, there needed to be a clear distinction from the lighting used in the street scenes. I used heavily saturated greens and purples to achieve this look
An overhead view of the light plot I created for this production
In discussion with the director Jonathan Hadley, we wanted the world's reality to mimic the Globe theatre's look. To achieve this, I used a warm look for the scenes that took place in the theatre and on the street
Taking place in 1595 London, Something Rotten! tells the story of Nick Bottom and his brother Nigel struggling to write a play that helps them step out of the shadow of Shakespeare’s success. With this continuous struggle, Nick hires a soothsayer to learn what the future holds for the theatre; this ultimately leads him to the creation of “a musical”, a form of theatre that did not exist until 1866 in New York City. Something Rotten! takes a satirical approach to Shakespeare’s plays and the musical theatre form to create a hilarious, over- the-top campy, show about authenticity and the entertainment industry.
Play: Something Rotten!
Book: Karey Kirkpatrick and John O’Farrell
Music and Lyrics: Wayne Kirkpatrick and Karey Kirkpatrick
Conceived: Karey Kirkpatrick and Wayne Kirkpatrick
Venue: E.C. Mabie Theatre
Date: March 2023
Director: Jonathan Hadley
Choreographer: Sabrina Duke
Stage Manager: Elizabeth Sarsfield
Scenic Design: R. Eric Stone
Costume Design: Kaelen Novak
Lighting Design: Alastair Sigala Ramirez
Music Director: Mark Bruckner
Lighting Budget: $340
Total Budget: $17,185
A Plant
A Plant tells the story of a decayed planet and the endeavor of Lab trying to create a new life, Andam, that could revitalize this withered world. I used lighting to create the world of the underground bunker that Lab occupied, using texture and shadows to build the structured world around Lab.
Play: A Plant
Playwright: Jarek Pastor
Venue: E. C. Mabie Theatre (Filmed)
Date: November 2020
Director: Ann Kreitman
Stage Manager: Brillian Qi-Bell
Scenic Design: Tobin Griffin
Costume Design: Abigail Mansfield Coleman
Lighting Design: Alastair Sigala Ramirez
Sound Design: Keegan Konsor
Lighting Budget: $50
Total Budget: $1,000
I used lighting to create the world of the underground bunker that Lab occupied, using texture and shadows to build the structured world around Lab. I had the texture and shadows show up heaviest when Lab was alone, this created the feeling of being trapped and isolated
The footlights were used primarily during transitions blasting the stage with a purple color, similar to that of the grow light to show the growing connection between Lab and Andam
I had access to a video monitor which allowed me to adjust the lighting for the camera in real-time
I used lighting to create the world of the underground bunker that Lab occupied, using texture and shadows to build the structured world around Lab. I had the texture and shadows show up heaviest when Lab was alone, this created the feeling of being trapped and isolated
Trapped in the Folds
When we first see Giselle, it is just moments after she has suffered from her trauma. To emphasize this, I used a cold blue isolated spotlight on her to show her wounded state.
As we progress through the story, Giselle comes in contact with Myrtha, the queen of the Willis, who is trying to console her. Warm tones began to seep in with the introduction of Myrtha, supporting her kind, motherly nature and the comfort she is trying to bring to Giselle
The cold white color of the media played very well with the color temperature of the lighting I used, but some balancing lighting adjustments needed to be made during technical rehearsals.
When we first see Giselle, it is just moments after she has suffered from her trauma. To emphasize this, I used a cold blue isolated spotlight on her to show her wounded state.
Julia Cooper’s Trapped in the Folds, was inspired by the classical ballet Giselle which was first produced in 1841 and choreographed by Jean Coralli and Jules Perrot. Trapped in the Folds focused on the trauma of an abusive relationship and the cycle that unfolds.
Dance: Trapped in the Folds
Choreographer: Julia Cooper
Venue: Strauss Hall, Hancher Auditorium (Filmed)
Date: April 2021
Stage Manager: Jennifer Sandgate
Animation and Programming: Emily Berkheimer
Costume Design: Michael Landez
Lighting Design: Alastair Sigala Ramirez
Music Composition: Max Denny
Projection Videography: Julia Cooper
Budget: $0
Remember
Remember, an improvisational dance piece by Mariko Ishikawa. Remember, tells the story of trying to remember what the natural world was like after its destruction. There were four sections each signifying an element — Air, Water, Earth, and Body.
Dance: Remember
Creator and Dancer: Mariko Ishikawa
Venue: Strauss Hall, Hancher Auditorium (Filmed) Date: April 2021
Stage Manager: Jennifer Sandgate
Costume Design: Juliana Waechter
Lighting Design: Alastair Sigala Ramirez
Music: Ramin Roshandel
Cinematography: Chase Ishii; Julia Cooper
Budget: $0
Remember Production Photo, Air. The surrounding area mimicked a smog filled city with pure white sidelight representing the clean pure air.
This focused on the movement of the dancer remembering and connecting with the natural element. Water used the feeling of a body of water affected by oil pollution, with a flowing water texture projecting onto the floor that the performer interacted with
The final element was the Body itself. The approach to this part of the dance was more of a spiritual take with the representation of one's aura, for this I used cyan and amber coming from the high sides and blues coming from the booms
Remember Production Photo, Air. The surrounding area mimicked a smog filled city with pure white sidelight representing the clean pure air.
Iowa Director's Festival
Iowa Director's Festival Light Plot
Iowa Director's Festival photo of the whole scenic space
Iowa Director's Festival Light Plot
In February 2022, I designed four shows as part of the Iowa Director’ s Festival. The Iowa Director’ s Festival was a two-week festival, where the second-year directors directed a one-act show performed in repertory, with full shop support. Two shows were performed together each weekend, on a unit set with show-specific pieces and a 3⁄4 thrust seating configuration. The rep plot I put together consisted of a 10-point lighting system with most fixtures being incandescent. I had a warm and cool system coming from all three angles of the audience to control the lighting balance. Each show had its set of specials.
Event: Iowa Director’ s Festival
Venue: David Thayer Theatre
Date: February 2022
Lighting Budget: $350 (Budget for the Entirety of Iowa Director’s Festival)
Total Budget: $13,050
Letters from Cuba
The first show of the first weekend of The Iowa Director’ s Festival was Letters from Cuba, written by María Irene Fornés, and directed by graduate directing student Natalie Villamonte Zito. Letters from Cuba show a brother and sister who are separated by a border, but how some familial connections cannot be bound.
Play: Letters from Cuba
Playwright: María Irene Fornés
Venue: David Thayer Theatre
Date: February 2022
Director: Natalie Villamonte Zito
Production Stage Manager: Dylan Nicole Martin
Calling Stage Manager: Melissa Turner
Scenic Design: Edward Matthew Walter
Costume Design: Kaelen Novak
Lighting Design: Alastair Sigala Ramirez
Media Designer: Daniel Fine
Sound Design: Natalie Villamonte Zito
Lighting Budget: $350 (Budget for Entirety of the Iowa Director’ s Festival)
Total Budget: $13,050
Letters from Cuba Production Photo, lights, and media working together to build the world of Cuba
For the world of Cuba, I used heavily saturated blues and ambers to portray that island country feel
The director Natalie Villamonte Zito wanted to bring awareness to the children that have been kept in cages when trying to cross the border in the United States. We chose to showcase this in a magical realism way with the son, Enrique, being trapped at the entrance of the door. To help establish him being caught in a cage, I used a special with a gobo texture but continued the surrounding area to be lit with purples and pinks to show that this dream of a family reunion has been crushed.
Letters from Cuba Production Photo, lights, and media working together to build the world of Cuba
small hours
I wanted to create a cold empty world that has little moments of warmth, from lamps and other practical sources. I went with a cold world with the only source of warm lighting coming from the practical lamps on stage
Throughout the show, the new mother looks endlessly for distractions and at some moments turns to watch television. To get the effect of her watching television it was a collaborative effort with the scenic designer Edward Matthew Walter. Walter provided me with a television stand that could mask a light but could still be focused on the new mother. I used a lighting effect to get the motion and movement of the action taking place
As we reached the climax of this breakdown lights, media, and sound all worked very closely together to help portray this cacophony of chaos. The media showed imagery of scribbles with lighting assisting by lighting the walls with a color ramp effect
I wanted to create a cold empty world that has little moments of warmth, from lamps and other practical sources. I went with a cold world with the only source of warm lighting coming from the practical lamps on stage
The second show of the first weekend of The Iowa Director’ s Festival was small hours, written by Lucy Kirkwood and Ed Hime, and directed by Sarah Gazdowicz. small hours is the story of a new mother dealing with the reality of post-partum in the late hours of the night.
Play: small hours
Playwright: Lucy Kirkwood and Ed Hime
Venue: David Thayer Theatre
Date: February 2022
Director: Sarah Gazdowicz
Production Stage Manager: Dylan Nicole Martin
Calling Stage Manager: Melissa Turner
Scenic Design: Edward Matthew Walter
Costume Design: Kaelen Novak
Lighting Design: Alastair Sigala Ramirez
Media Designer: Daniel Fine
Sound Design: Colten Langfitt
Lighting Budget: $350 (Budget for Entirety of the Iowa Director’ s Festival)
Total Budget: $13,050
Talk to Me Like the Rain is Falling and Let Me Listen
Talk to Me Like the Rain and Let Me Listen, written by Tennessee Williams, and directed by Kenneth Collins is the third show in a total of The Iowa Director’ s Festival and the first in the second weekend of performances in the repertory schedule. Talk to Me Like the Rain and Let Me Listen tells the story of a man and woman who desperately long for an intimate connection but are both wasting away due to their vices.
Play: Talk to Me Like the Rain and Let Me Listen Playwright: Tennessee Williams
Venue: David Thayer Theatre
Date: February 2022
Director: Kenneth Collins
Production Stage Manager: Dylan Nicole Martin
Calling Stage Manager: Melissa Turner
Scenic Design: Edward Matthew Walter
Costume Design: Kaelen Novak
Lighting Design: Alastair Sigala Ramirez
Co-Media Designer: Daniel Fine
Co-Media Designer: Emily Berkheimer
Co-Media Designer: Kenneth Collins
Music: Jacob Smithburg
Lighting Budget: $350 (Budget for Entirety of the Iowa Director’ s Festival)
Total Budget: $13,050
The goal was to take an atmospheric deconstruction of the piece. Because of this, I looked very closely at the work of Andy Warhol’s “Silver Factory” era, as well as the lighting work of the Velvet Underground and other similar artists’ concert work. I worked closely with the media designers mimicking the color gradients they had on the side walls, carrying the base color to the ground
I wanted to accentuate the live band on stage but not take away from the performance of the actors in the video.
To achieve this goal, I looked at using a tertiary color palette that would play off the base colors of the walls, then used these colors to highlight the musicians
The goal was to take an atmospheric deconstruction of the piece. Because of this, I looked very closely at the work of Andy Warhol’s “Silver Factory” era, as well as the lighting work of the Velvet Underground and other similar artists’ concert work. I worked closely with the media designers mimicking the color gradients they had on the side walls, carrying the base color to the ground
England's Splendid Daughters
I looked at how I could build a world that was representative of the cold cruel setting of war, for this I looked at emphasizing these moments of harshness with a cold biting color and the harshness of isolation
In the cold England environment, they were able to find warmth and love in each other. Lighting portrayed this with the moments of them connecting being a little warmer toned in nature
The walls were usually used to add a background to moments between characters that would take place on the platforms in front of the side of the walls. Often used to show what could be interpreted as a horizon sky in the background
I looked at how I could build a world that was representative of the cold cruel setting of war, for this I looked at emphasizing these moments of harshness with a cold biting color and the harshness of isolation
England’ s Splendid Daughters, written and directed by Ann Kreitman, was the fourth and final show of The Iowa Director’ s Festival and the second show for the second weekend of performances in the repertory schedule. England’ s Splendid Daughters is the story of the heroic queer women that were called upon during World War I by the British Armed Forces to replace ambulance drivers.
Play: England’ s Splendid Daughters
Playwright: Ann Kreitman
Venue: David Thayer Theatre
Date: February 2022
Director: Ann Kreitman
Choreographer: Michael Landez
Production Stage Manager: Dylan Nicole Martin
Calling Stage Manager: Hallie Patterson
Scenic Design: Edward Matthew Walter
Costume Design: Kaelen Novak
Lighting Design: Alastair Sigala Ramirez
Sound Design: Katie Polaschek
Lighting Budget: $350 (Budget for Entirety of Iowa Director’s Festival)
Total Budget: $13,050