Lighting Programmer

Total Page:16

File Type:pdf, Size:1020Kb

Lighting Programmer Jeremy Goldenberg - Lighting Programmer 801-647-1043 -- [email protected] Jeremygoldenberg.com WARHOLCAPOTE (2017) LD. Kevin Adams American Repertory Theatre Burn All Night (2017) LD. Bradley King American Repertory Theatre The Night of the Iguana (2017) LD. David Lander American Repertory Theatre Trans Scripts, Part 1: LD. Lap Chi Chu American Repertory Theatre The Women (2017) Fingersmith (2016) LD. Jen Schriever American Repertory Theatre Priscilla Queen of the LD. Bailey Costa Fiddlehead Theatre Company Desert (2016) Notes from the Field: Doing LD. Howell Binkley American Repertory Theatre Time in Education (2016) In The Body of the World (2016) LD. Jen Schriever American Repertory Theatre Nice Fish (2015) LD. Japhy Weideman American Repertory Theatre Natasha, Pierre & the Great LD. Bradley King American Repertory Theatre Comet of 1812 (2015) Waitress (2015) LD. Ken Posner American Repertory Theatre Crossing (2015) LD. Jennifer Tipton American Rpertorty Theatre The Last Two People on Earth LD. Ken Billington American Repertory Theatre An Apocalyptic Vaudeville (2015) Father Comes Home From LD. Lap Chi Chu American Repertory Theatre The Wars (Pt 1, 2, 3) (2015) The Light Princess (2014) LD. Porsche McGovern American Repertory Theatre OPC (2014) LD. Bradley King American Repertory Theatre Les Miserables (2014) LD. Chris Wood Utah Festival Opera The Student Prince (2014) LD. Chris Wood Utah Festival Opera Oklahoma! 2014) LD. Chris Wood Utah Festival Opera Vanessa (2014) LD. Chris Wood Utah Festival Opera Harvard Dance Spring LD. Jon Gonda Harvard Dance Performance (2014) We are Proud to Present LD. Chris Brusberg Company One/ArtsEmerson a Presentation (2014) The Power of Duff, (2013) LD. Rui Rita The Huntington Theatre Co. The Jungle Book (2013) LD. T.J. Gerckens The Huntington Theatre Co. They’re Playing His Songs (2013) LD. Chris Chambers The Cape Playhouse Excecution Of Justice (2012) LD. Tyler Lambert Perkins Boston University Special Skills Lighting Lightwright (4, 5, 6), ETC Ion, Gio, Eos, Express, Obsession II, GrandMA 1 & 2 Sound Pro Tools, Cubase, SFX, QLab, Yamaha Digital Consoles, Basic CueStation/CueConsole/Matrix3 Programming Other Vectorworks (2009-2018), Microsoft Office, Mac & Windows Proficient, Networking, Show Control, Basic Rigging, ETCP Certified Entertainment Electrician References Matt Adelman Lighting and Projections Supervisor, American Repertory Theatre [email protected] - 617-495-2668 Braden Howard Lighting Designer, Brigham Young University - Idaho [email protected] - 435-720-1930 BFA Boston University, 2013 .
Recommended publications
  • Spongebob Tour 10.30.19.Pdf
    NETworks Presentations PRESENTS Based on the Series by Stephen Hillenburg BOOK BY KYLE JARROW ORIGINAL SONGS BY Yolanda Adams, Steven Tyler & Joe Perry of Aerosmith, Sara Bareilles, Jonathan Coulton, Alex Ebert of Edward Sharpe & The Magnetic Zeros, The Flaming Lips, Lady Antebellum, Cyndi Lauper & Rob Hyman, John Legend, Panic! At the Disco, Plain White T’s, They Might Be Giants, T.I., Domani & Lil’C AND SONGS BY: David Bowie & Brian Eno Tom Kenny & Andy Paley ADDITIONAL LYRICS BY: Jonathan Coulton AND MUSIC BY: Tom Kitt STARRING Lorenzo Pugliese Beau Bradshaw Cody Cooley Zach Kononov Tristan McIntyre Daria Pilar Redus Joshua Bess Morgan Blanchard John Cardenas Natalie L. Chapman Richie Dupkin Teddy Gales Stephen C. Kallas Méami Maszewski Stefan Miller Mary Nickson Dorian O’Brien Caitlin Ort Elle-May Patterson Helen Regula Sydney Simone Ayana Strutz Miles Davis Tillman Rico Velazquez Rachel Wong SCENIC & COSTUME DESIGN LIGHTING DESIGN PROJECTION DESIGN SOUND DESGIN DAVID ZINN KEVIN ADAMS PETER NIGRINI WALTER TRARBACH HAIR & WIG DESIGN MAKE-UP DESIGN FOLEY DESIGN ASSOCIATE DIRECTOR ASSOCIATE CHROEOGRAPHER CHARLES G. LAPOINTE JOE DULUDE II MIKE DOBSON KENNETH FERRONE LOU CASTRO MUSIC DIRECTOR ORCHESTRATIONS AND ARRANGEMENTS BY MUSIC COORDINATOR PATRICK HOAGLAND TOM KITT JOHN MEZZIO CASTING PRODUCTION STAGE MANAGER TOUR PRESS AND MARKETING TOUR BOOKING STEWART/WHITLEY JOHN CARPENTIER BROADWAY BOOKING OFFICE NYC THE ROAD COMPANY GENERAL MANAGEMENT EXECUTIVE PRODUCER EXECUTIVE PRODUCER PRODUCTION MANAGEMENT GENTRY & ASSOCIATES SUSAN VARGO TRINITY WHEELER NETWORKS PRESENTATIONS ELISABETH BAYER HECTOR GUIVAS MUSIC SUPERVISION JULIE McBRIDE & TIMOTHY HANSON CHOREOGRAPHY BY CHRISTOPHER GATTELLI MUSICAL PRODUCTION CONCEIVED AND DIRECTED BY TINA LANDAU Originally produced on Broadway by Nickelodeon, the Araca Group, Sony Music Masterworks, and Kelp on the Road ©2019 Viacom International Inc.
    [Show full text]
  • Rosco-Gobo-Catalogo.Pdf
    s Page Page t n e Custom Gobos Glass Colour 54 t n Online Catalogue 3 Abstract 54 o Breakups 55 C Effects Glass 4 Rotation 55 f Colorizers 4 Scene 57 O Prismatics 4 Image Glass 5 Sizes, Holders,Tech Info 59 e l ColorWaves 6 Details for choosing the right gobo size, type b and holder for the fixtures you’re using. a T Steel 7 Custom Gobos 61 Breakups 7 Tips and details for ordering a custom-made gobo. Foliage Breakups 11 Trees & Flowers 14 Abstract 16 Gobo Rotators 63 Graphics 19 Graphics & Grills 22 iPro Image Projector 64 Rotation 23 Symbols & Signs 27 X24 X-Effects Projector 65 World Around Us 28 Churches & Heraldics 32 Equipment 66 Windows, Doors & Blinds 33 Rosco’s Infinity and I-Cue Intelligent Mirror Boundaries & Wildlife 36 Clouds & Sky 37 Creative Combinations 67 Water & Sky 38 Combining gobos and rotating them can Fire & Ice 40 create stunning effects. Architectural & Retails 41 Occasions & Holidays 42 Index, Numerical 69 Text 47 Index, Alphabetical 75 Glass B/W 48 Abstract 48 Breakups 50 Rotation 51 Scene 52 Rosco Gobo 77785 Number DHA Gobo 238-285 Number Gobo Sharp Breakup (Medium) Name Tom Skelton Gobo Designer ©1984 – 2016 Rosco Laboratories, Inc. (“Rosco”). Copyright claim includes but is not limited to all Rosco Gobo patterns/designs. The names and numerical designations of Rosco Gobo patterns/designs are trademarks of Rosco. Rosco reserves all copyright and trademark rights. 2 Custom Gobos s o Rosco has long been involved in the production of gobos, catalogue and custom, metal and glass, monochrome and colour.
    [Show full text]
  • Past TRC Productions
    TRINITY REPERTORY COMPANY 201 Washington Street, Providence, RI 02903 PAST PRODUCTIONS Counting seasons: In the official count of seasons (1st, 2nd, 3rd, etc.), it may have been decided in 1970 to not count 1963-64 as the first season. Or a mistake in a brochure may have never been caught until it was much too late. Subscription brochures for the 1969-70 Season and 1970-71 Season both refer to the upcoming season as the 7th Season. Brochures for the 1967-68 and 1968-69 Seasons refer to them respectively as the 5th and 6th Seasons, but a brochure for the 1965-66 Season refers to that as the “second full season.” During the 1963-64 Season, Trinity Players on the Square was not a fully professional company and there were no actual performances in 1963. 1964-65 was the first full season with Adrian Hall as artistic director and Equity contracts. The counting of the seasons proceeded consecutively from the second 7th Season. *World Premiere Production **American Premiere Production ***Pre-Season Productions + Booked-In, Rental, or Competition Winner Productions 1963-1964 Season • 1st Director Playwright Designers The Hostage Ira Zuckerman Brendan Behan Sets: Sandra Tilles Costumes: Joyce Anderson Lighting: Thomas J. Aubin Sound: Vincent Vessela The House of Bernarda Alba Ira Zuckerman Frederico Garcia Lorca Sets: Morris Nathanson Costumes: Sue Neely Lighting: Thomas J. Aubin and Catie Calvo Sound: Bud Peltier American Dream Adrian Hall Edward Albee Sets: Richard L. Peterson and Carl Ravenal Costumes: Edith Brown Lighting: Thomas J. Aubin and Catie Calvo Sound: Sandra Tilles Orpheus Descending Adrian Hall Tennessee Williams Costumes: Edith Brown Lighting: Thomas J.
    [Show full text]
  • American Repertory Theater Presents PROMETHEUS
    For Immediate Release: February 1, 2011 Contact: Kati Mitchell 617-495-2668 [email protected] American Repertory Theater presents PROMETHEUS BOUND script and lyrics by Steven Sater (from the play by Aeschylus) music composed by Serj Tankian directed by Diane Paulus February 25 — April 2 OBERON WHAT: The American Repertory Theater (A.R.T.) continues its 2010/11 Season with Steven Sater and Serj Tankian’s world premiere rock musical Prometheus Bound, directed by Diane Paulus. WHEN: February 25 - April 2, 2011 See “At a Glance” for details — please note non-traditional schedule. WHERE: OBERON, 2 Arrow Street, Harvard Square, Cambridge TICKETS: Begin at $25. Student rush $15. Seniors $5 off regular ticket price. Group Rates available. Single tickets can be purchased on line at http://www.AmericanRepertoryTheater.org, by phone at 617-547-8300, or in person at the A.R.T. Box Office, 64 Brattle Street, Cambridge, MA 02138. RATING: Recommended for 13 and older. RUNNING TIME: Eighty minutes, no intermission. DETAILS: An outcry against tyranny, Prometheus Bound illustrates one man's struggle against the brute force of a ruthless dictator. Written by Tony and Grammy Award-winning playwright and lyricist Steven Sater (Spring Awakening) with music composed by Grammy Award-winning System of a Down lead singer Serj Tankian, this new musical is inspired by Aeschylus's Ancient Greek tragedy about the heroic struggle of Western civilization's first prisoner of conscience. A.R.T. Artistic Director Diane Paulus stages this world premiere production in OBERON, immersing the audience in an environment that has the Dionysian energy and rebelliousness of a rock concert.
    [Show full text]
  • FY17 Annual Report View Report
    Annual Report 2016–17 1 2 4 Introduction 6 Metropolitan Opera Board of Directors 7 Season Repertory and Events 14 Artist Roster 16 The Financial Results 48 Our Patrons 3 Introduction In the 2016–17 season, the Metropolitan Opera continued to present outstanding grand opera, featuring the world’s finest artists, while maintaining balanced financial results—the third year running in which the company’s finances were balanced or very nearly so. The season opened with the premiere of a new production of Wagner’s Tristan und Isolde and also included five other new stagings, as well as 20 revivals. The Live in HD series of cinema transmissions brought opera to audiences around the world for the 11th year, with ten broadcasts reaching approximately 2.3 million people. Combined earned revenue for the Met (Live in HD and box office) totaled $111 million. Total paid attendance for the season in the opera house was 75%. All six new productions in the 2016–17 season were the work of distinguished directors who had previous success at the Met. The compelling Opening Night new production of Tristan und Isolde was directed by Mariusz Treliński, who made his Met debut in 2015 with the double bill of Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle. French-Lebanese director Pierre Audi brought his distinctive vision to Rossini’s final operatic masterpiece Guillaume Tell, following his earlier staging of Verdi’s Attila in 2010. Robert Carsen, who first worked at the Met in 1997 on his popular production of Tchaikovsky’s Eugene Onegin, directed a riveting new Der Rosenkavalier, the company’s first new staging of Strauss’s grand comedy since 1969.
    [Show full text]
  • Entire Catalog
    Page Page Custom Gobos Glass Color 54 Online Catalog 3 Abstract 54 Breakup 55 Effects Glass 4 Rotation 55 Colorizers 4 Scene 56 Prismatics 4 ImageGlass 5 Sizes, Holders, ColorWaves 6 Tech Info 59 Details for choosing the right gobo size, type Steel 7 and holder for the fixtures you’re using. Breakups 7 Custom Gobos 61 able Of Contents Foliage Breakups 11 T Trees & Flowers 14 Tips and details for ordering a custom-made gobo. Abstract 16 Graphics 19 Gobo Rotators 63 Graphics & Grills 22 Rotation 23 iPro Image Projector 64 Symbols & Signs 27 World Around Us 28 X24 X-Effects Projector 65 Churches & Heraldics 32 Windows, Doors & Blinds 33 Equipment 66 Boundaries & Wildlife 36 Rosco’s Infinity and I-Cue Intelligent Mirror Clouds & Sky 37 Water & Sky 38 Creative Combinations 67-68 Combining gobos and rotating them can Fire & Ice 40 create stunning effects. Architectural & Retails 41 Occasions & Holidays 42 Index, Numerical 69-74 Text 47 Index, Alphabetical 75-79 Glass B/W 48 Abstract 48 Breakup 50 Rotation 51 Scene 52 Rosco Gobo Number 77785 Rosco DHA 238-285 Gobo Number Gobo Name Sharp Breakup (Medium) Tom Skelton Gobo Designer 2 Custom Gobos Custom gobos can be made to fit virtually any stationary or moving light. Your artwork may be a logo, text, a photo or any image. But the critical decision is choosing the right vendor. When you place your order with a dealer, the dealer will prob- ably recommend that your custom gobo be manufactured at Rosco. Here’s why: Rosco manufactures its own dichroic glass in its purpose-built facility in Round Rock, Texas.
    [Show full text]
  • Edition 1 | 2019-2020
    TABLE OF CONTENTS Message from the President & CEO ..................... 5 The SpongeBob Musical Co-Sponsored by Aetna and Travelers .......................................... 11 Annual Fund Donor Honor Roll ......................... 24 An Extra Special Thank You ............................... 28 The Bushnell Services ....................................... 36 | 3 MESSAGE FROM THE PRESIDENT & CEO A Bushnell Milestone Welcome back to This Bushnell Broadway season will take you The Bushnell and places—from Spongebob’s Bikini Bottom to welcome to the start Jimmy Buffett’s Margaritaville, from Dolly Levi’s of our 2019-2020 Yonkers to an Egyptian band’s visit to Israel, Broadway Series season! you’ll go around the world to locations real and Thank you for joining us, imagined. For all its 90 years, The Bushnell has and thank you to Aetna and offered the opportunity to make these journeys. Travelers for generously sponsoring the Series We’re proud to be a place where imaginations this year. This is not just the start of any old soar and friends and families come together to season, it is the beginning of The Bushnell’s 90th be enchanted, informed, and inspired. anniversary year, and as you might expect, we plan to celebrate in style! You’ll be seeing a lot of It is our honor to have you with us. And while our special 90th anniversary logo, printed below. anniversary years always have a lot of reflection We have exhibits, remembrances, and special and looking back, believe me, the most exciting content planned for you throughout the season, times for The Bushnell lay ahead. 90 is just culminating in our not-to-be-missed Ovations the beginning! gala next March, which will pay spectacular tribute to nine decades of stars on our stages.
    [Show full text]
  • City Theatrical Talks with Lighting Designer Jake Degroot
    City Theatrical Talks with Lighting Designer Jake DeGroot Jake DeGroot is a freelance designer based in New York City. Jake has collaborated with theaters, companies, directors, designers, and artists all over the world. Jake will be designing his first Broadway production Oh, Hello. Oh, Hello opening October 10th at the Lyceum Theatre in NYC. We sat down with Jake to learn about his experience lighting his first Broadway show, and the journey he took to get where he his today. CTI: Can you recall the first time you were in a theatre that made a major impression on you? Jake DeGroot:I consider myself very lucky that I have known what I wanted to do since I was very young. I decided I wanted to be a lighting designer when I operated the light board for a community theatre show when I was 10 years old and I have been able to stay busy doing it ever since. My drive to get involved with lighting at such a young age certainly came from some theatrical experiences I had as a kid. I would say there were two extremely memorable moments in theatres that led me in the direction of design and specifically lighting. The first was seeing Peter Pan in the Colonial Theatre in Boston with my grandparents. I remember being totally transfixed by the scrim bleed-through at the top of the show and trying to figure out how it was done. Then of course when Kathy Rigby flew out over the audience, they had me. The other experience was a couple of years later when I saw the sit-down production of The Who’s Tommy in Toronto.
    [Show full text]
  • Bruce Ellman 231 Goldenrain Dr., Apt
    Bruce Ellman 231 Goldenrain Dr., Apt. 4303 Celebration, FL 34747 Phone: 407-566-8594, Cell: 917-446-6797 E-mail: [email protected] Portfolio: http://bruceellmanportfolio.businesscatalyst.com/ www.linkedin.com/in/bruceellman/ Summary: • Extensive experience involving hundreds of wide-ranging projects designing and programming large scale audio installations for exhibitions, Broadway plays, and small plays and musicals both in and outside of New York City • Designed and programmed show control and audio systems for Madame Tussauds New York • A pioneer in the use of audio computer control systems for off-Broadway and Broadway theatre • Software (Partial List): Audition, Digital Performer, Logic, Medialon Manager, MS Office (Access, Excel, Outlook, PowerPoint, Publisher, Visio, Word), ProTools, QLab, Richmond Sound Design Software/Hardware including ABEdit, AudioBox, SoundMan- Server, Stage Research's SFX software, Sony’s Sound Forge, Vegas, Acid, and Dataton’s Watchout • Nine and a half years of experience as an educator and mentor teaching classes in entertainment technology at New York City’s College of Technology (CUNY) An extensive list of sound design and sound related projects, along with a list of the other designers associated with these projects, can be found at the end of this CV. Professional Affiliations: United Scenic Artists Local USA829, Sound Designer PSC/CUNY Instructional and Support Staff Union The Ensemble Studio Theatre/NY, Playwright/Designer Member Themed Entertainment Association (TEA) Professional Leadership:
    [Show full text]
  • NEA•TCG Career Costume, Lighting, Scenic and Sound Designers Who Seek a Career in America’S Not- Career For-Profit Professional Theatres
    Since 1990, ThE National Endowment for ThE Arts and Theatre Communications Group have provided financial support and creative opportunities to exceptional early- NEA•TCG career costume, lighting, scenic and sound designers who seek a career in America’s not- Career for-profit professional theatres. Candidates for the CAreer DEvElopment proGrAm development (CDp) must have designed a minimum of three fully-staged professional productions. program the program offers recipients the opportunity to spend six months over a two-year period for Theatre Designers developing their design skills and expanding with additional support from the their knowledge of the field. program activity may include assistantship, observation, forD foundatioN research and travel. recipients may also design projects under the guidance of one or more designated mentors. each program is hand-tailored, matching recipients’ goals to appropriate and challenging assignments. this program is administered by theatre Communications group in association with the national endowment for the arts and supported, in part, by the ford foundation’s new works program. under the program, $22,500 will be given to seven early-career stage designers of exceptional talent. the ford foundation’s support will enable each recipient to receive up to $1,000 to support ongoing life needs such as health insurance, child care or elder care. the recipients will be chosen by a national, independent and aesthetically diverse selection panel (jointly appointed by tCg and the national endowment) through a competitive application review process. the finalists will be interviewed by the panel in new York City. these guidelines and application are available on tCg’s website, www.tcg.org.
    [Show full text]
  • To Our Guest Directors, Designers and Stage Managers
    To our guest directors, designers and stage managers, Welcome! We are delighted that you have chosen to be a part of our 31st Season. We are looking forward to a year full of new challenges, rewards, and friendships. We hope to make your time with us enjoyable and productive, and to this end we have provided you with this informational packet. Please take the time to browse the packet and learn a bit about us. Included in your handbook are production calendar(s), contacts (as current) for your production’s artistic team, information about the shops and the design deadlines, and much more. Please take the time to review our prelim and final design deadline materials requirements. Please contact the production office, or the respective production department head(s) for the most current drawings, inventories and information as this info is updated more often than our handbook. We will all have to work hard to realize your vision within a tight and conservative financial structure. We have had to cut back after our 30th Anniversary season with it’s $1 million dollar supplemental gift to budgets that are more reflective of the new normal of these leaner times. Last season our average show budget was over $160,000. This year the average is less than $100,000. Please consider yourself forewarned that we want your help. We need you to adhere to design deadlines, return those phone calls and emails as soon as you can, in order that we get the most bang for the buck. Sometimes we start a little early in order make the best use of our labor resources.
    [Show full text]
  • The Assistant Lighting Designer's Toolkit
    The Assistant Lighting Designer’s Toolkit “The Assistant Lighting Designer’s Toolkit is a book the lighting world needs and should be required reading for all new— and not so new— lighting designers.” — Ken Billington, Tony Award- winning Broadway Lighting Designer The ground- breaking text that took the lighting world by storm returns in its second edition, unlocking the insider secrets and proven, time- tested methods to succeed as a professional assistant lighting designer. This definitive guide outlines, step-by- step, the daily challenges that assistant lighting designers face during every phase of production, and the solutions for overcoming them. Furthermore, intermingled among the highly detailed paperwork techniques and essential procedures, top industry professionals reveal tips for success in this challenging career. This fully updated second edition features: • All new advice, real- world stories, and current paperwork examples from over 120 working professionals. • Updated industry practices with case studies from the professionals themselves, such as how to create a video network to record previews for the lighting department; how much printing is done in an increasingly paperless world; how to produce a set electrics package; and how the industry interfaces with cutting- edge technology like remote followspots and pre- visualization software. • New lifestyle tips for traveling abroad, negotiating contracts, and dealing with stressful situations. The Assistant Lighting Designer’s Toolkit, the most trusted authority on assisting in the lighting world, equips budding assistant lighting designers and students studying lighting design with the insider knowledge they need to achieve the successful career that they have always wanted— whether choosing assisting as a career or as a stepping-stone toward design.
    [Show full text]