Musumeci Jr. pays great attention to the detailing of the top of the cave, creating jagged outlines that when hit by the darkened shadows of Lighting Designer Brian S. Allard’s work, appear to be the skyline of the Kentucky Mountains.
Allard’s illuminating work is astonishing, particularly with the array of colors he infuses into his designs, each alighting upon the walls of the cavern like a rainbow pouring forth from a single lantern. Allard’s lighting work captures inviting moments of passion and emotion as well as setting the tone for a great many of the musical numbers throughout the performance. In addition to creating an enchanting aesthetic for both the world above the cavern and the world deep below the earth’s surface, Allard’s luminescent craftwork creates a third level of play for the characters— a dreamscape— for numbers such as “Riddle Song” and “The Dream.”
By Amanda M. Gunther
June 8, 2016
Truth and Beauty Bombs
Brian S. Allard devised the lighting, which deploys the odd touch of vivid pink to evoke apocalyptic sunsets.
By Celia Wren
September 15, 2015
She Kills Monsters
One of the hallmarks of a good Dungeon Master (a game leader and narrator) is the ability to immerse players in the fantasy world. Here, the set, lighting, and costuming team have certainly delivered a magical experience. Ethan Sinnott’s set is playful and versatile, transforming from library to mountain range to demon lair with ease. The assorted fairies, dragons, and other monsters (including the odd gelatinous cube) Agnes and her intrepid party face leap from point to point, accentuated by Brian S. Allard’s lighting design.
Osborn, doubling as Costume Designer, has picked out spot-on clothes; Lighting Designer Brian Allard gives visual jolts to the story.
By Celia Wren
June 7, 2014
One of the most powerful scenes, about a mourning lover (Knight), features a phantasmal face that materializes in surprising fashion in a tiny room. Another, in a duskily lit space where stacked chairs cast ominous shadows, tells of a blind musician (Justin Le) attacked by warrior ghosts. (Czerton Lim contributed the shrewdly minimalist set design; Brian S. Allard designed the lighting.) All in all, it’s enough to make you feel like borrowing the words of a wondering character in one of Hearn’s stories: “What strange wild fancies!”
But is the maiden living or a ghost? He protests that she’s as alive as anything he could ever wish for, but when the bluish lighting casts an unearthly pall on her, the soldier learns the truth the hard way.
The sensation of traveling to a mysterious place, half in light and half in shadow, and not fully a part of the physical world, is the reason to attend KWAIDAN. I almost believed that I, too, had left the earthly plane, along with the characters.
The Two Character Play
What also works are Henrich’s pacing, the blocking choreography, and the overall production design. The kinetic movement of Gardner and Jackson are a natural progression of thought, and Brian S. Allard’s accompanying mood changing lighting design is consistently effective. The set by designer JD Madsen is a striking, eyeful experience with the set-within-a-set where there is no one fixed environment to focus one’s attention (although the cardboard and paper mache sculpture “The Giant” and the come to life sunflowers are impressive focal points.) Felice and Clare’s odd assembled mix of wardrobe stylings by costume designer Kimberly Parkman are a winning look of eccentric fashion.
Dr Jim Volz
August 19, 2013
Internet Shakespeare Editions
Much Ado About Nothing
In the world of the Hotel Messina, where a juke box takes center stage; snazzy costumes and LED lights provide razzle-dazzle; and jagged crystal-looking palm fronds frame the entire madness, special recognition must be given to Scenic Designer Steven Royal, Lighting Designer Brian Allard, Costume Designer Maggie Cason and Technical Director Jeffrey Harrison.
As written, Neglect is a quick, tough play that ends on a gut-punch to our collective moral center. I won’t say how that happens, but some clean, unfussy work by the design team (Brian S. Allard on lighting and Domenic A. Creswa on sound) ensures that Journeyman’s staging nails the all-important climax.
A Graceful Study in Contrasts
May 12, 2008
Washington Post, Page C04
In a rare glimpse into the choreographer's inspiration for movement, Singh staged several works by early modern dance master Anna Sokolow (1910-2000). The duet "September Sonnet" (1995) was a tribute to the cycle of human existence. Emerging in lighting evocative of the rising sun, Singh and Melissa Greco unfolded like flowers, shaking as if to release the morning dew. At times they turned like spindles dependent on each other for energy, and as the sun fell they reached outward, gesturing toward some faraway place.
The Skin of Our Teeth
Scenic and lighting designers Robbie Hayes and Brian Allard effectively use the spacious stage including an added sublevel area, draping huge white plastic sheeting over tall steel scaffolding for the Ice Age. In the final act, the eerie lighting and mist expose bare metal burned out skyscraper-like remains after a blast. Very effective.