Kitri’s Wedding

Kitri’s Wedding is part of the third act of the famous ballet Don Quixote. The original choreography was by Marius Petipa, and the ballet originated from the novel Don Quixote de la Mancha by Miguel Cervantes. The wedding is vibrant and festive. The vibrant red colors add on to the Spanish flair of the music. The lighting supports the joys of having a wedding and the grant festivities that surrounds it.

Choreography by: Deirdre Carberry

Photography by: Jeremy Mayo


Bridges is an original choreography by Michael Tevlin. The piece portrays the whimsical waters of the Cincinnati rivers and bridges. This Neo Classical ballet embodies the structures of the bridges through their formations and the fluidity of water through their shifts. The use of textures and effects supports the design of the bridges and the movement of water.

At The End / Physical Graffiti 2018

 “At The End”, Choreographed by Molly Gray, is dedicated to the passing of London Thibodeaux. The piece explores the topic of grief and how the loss of someone brings people together while making them feel completely isolated. The lighting will begin with darkness and shadows to represent that dreadfulness of bringing yourself to accept that pain of losing someone, while feeling resentful to it. As the dance progresses, the dancers begin to unite and realize that they are not grieving alone. Natural light, such as sun light cascading from the cloudy sky after rainfall, brings a sense of warmth. The warmth from the natural light will calm the chaos and contrast the shadows from the start of the dance. For the end of the piece, a teal background would be revealed, representing London with her favorite color. A beam of bright light shines down from above as the dancers gather together, signifying their love for London, and how she will forever remain in their hearts.

Choreographed by Molly Gray

Photo Credit: Skye Schmidt

Venomous Exploits / Physical Graffiti 2018 

“Venomous Exploits”, Choreographed by Lexi Bormeth, is inspired by the idea of how addiction affects different relationships. The piece is broken down to three different sections; the first section represents the falling trust between a relationships that strives to support each other. The second section represents the never-ending race to nowhere. Lastly, the third section represents a cry for help within one person in the relationship, while the other is ignorant, or unaware. The lighting design will create a natural/neutral atmosphere that represents the unawareness of our addictions within the relationship. When addiction starts to rise, and the relationship begins to spiral into a state of chaos, harsher textures, and sickly greens will slowly become more prominent. Each section will have a variation of shadows, isolation, and chaotic movement/textures, to differentiate its levels of chaos.

Choreographed by Lexi Bormeth

Photo Credit: Skye Schmidt

DEclacomaine / Physical Graffiti 2018

“déclacomaine”, Choreographed by Jemima Choong, is inspired by the mirroring technique of engraving and prints transferred to pottery or other materials. The main inspiration for the lighting design is derived from rustic modern interior décor, and geometric modern art. The geometric shapes from modern art create similar mirroring effects and optical illusions similar to déclacomaine. The entire design is saturate in color and aesthetic, yet complex with different sharp angles and textures. With the simplicity of the lighting, and its complexity of the textures, the lighting can best support the mirroring formations that the dancers create.

Choreographed by Jemima Choong

Photo Credit: Skye Schmidt

Bare Bones 2018: Between the Spaces

Bare Bones 2018: Between the Spaces consisted of 17 choreographies by students of all majors. The entire show was dedicated to London Thibodeaux, a UCI Undergraduate Dance Major that passed away in an unfortunate car accident on July 6th, 2017. Each choreographer captured their love for dance through their choreography and encouraged the dancers to dance for the remembrance of London. My inspiration for majority of the 17 dances came from the album covers of the songs to which they were dancing. For other pieces, I drew inspiration from their emotions and connection with London. The lighting design conveyed each style and matched its rhythm and kinetic energy. With a wide variety of colors and contrasting angles, I was able to sculpt the dancers and bring their stories to life and bring light to their beloved deceased friend, London Thibodeaux.

Photo Credit: Terra Deal


Bare Bones 2017: Still in motion

Bare Bones 2017 consisted of 15 choreographies by students of all majors. Each dance piece had their own style, including pieces that were: frenetic, soft, romantic, powerful, and dramatic. In many cases, my inspiration for all 15 dances came from the album covers of the songs to which they were dancing. For other pieces, I drew inspiration for the videos they were watching or the choreographer's personal experience. The lighting design conveyed each style and matched its rhythm and kinetic energy. With a wide variety of colors and contrasting angles, I was able to sculpt the dancers and bring their stories to life.

Photo Credit: Terra Deal

Don't Expect Much

Don't Expect Much was all about humor and laughter generated through dance. Everything had a quirky or dramatic theme the elicited joy and laughter from the audience. The choreographer's inspiration was drawn from famous dancers such as Josephine Baker and Bob Fosse. The movement was sexy and bold, but also silly and innocent. The comedy was emphasized with vibrant colors and multiple textures. Being able to contrast colors and textures helped each piece stand out on their own, but still connect through their use of comedy in dance. Each effect built into the pieces were meant to bring out the festive atmosphere. Overall, the design immersed the audience while enhancing their laughter. 

Choreographed by Jessica Lynn Harper

Photo Credit: Skye Schmidt

Her Name Was______.

Her Name Was ______. followed the playful story line of Keira Whitaker. Each piece embraced her friendly personality. The use of vibrant colors accented the playfulness of each song. The lighting design captured the innocence of the girls, and how they evolved as they were exposed more to the real life. At the start of the performance, isolation is used to conceal the girls' emotions. As the story continues, the world expends with the curtains opening and exposing a mirror. The atmosphere brightens up and the playfulness continues throughout the rhythm and songs.

Choreographed by Keira Whitaker

Photo Credit: Skye Schmidt


RAW told several stories through hand movement. Each story represented a different event in someone’s life. The goal of the design emphasized vibrant and bold colors to represent the emotions within each piece, and created an intimate space between the dancer and the audience.

Choreographed by Megan Bowen

Photographer: Skye Schmidt

Carbon Footprint: Watch Your Step

Carbon Footprint: Watch Your Step used dance as a source of communication for climate change. Each of the movements reflected current environmental issues and dilemmas. The goal of the design was to capture the contrast between the beauty of nature and the pollution caused by industrial factories by the use of vibrant colors versus soft colors. The use of organic textures or geometric textures, through their soft naturalistic edges versus sharp mechanical edges, added more contrast between the two worlds.

Choreographed by Amelia Unsicker

Photo Credit: Skye Schmidt