Morning Star Directed by Dan Wackerman Peccadillo Theater Company (New York, NY) June, 2007 Spanning several decades in the early twentieth century and directly impacted by historical events of that era, Morning Star relates the dreams, challenges, and conflicts of an immigrant Jewish family on New York's Lower East Side. The central visual element of the director's concept was the white cyclorama, which the lighting designer used as a tabula rasa, "painting" it so as to reinforce the physical and emotional setting of each scene. The Glass Menagerie Directed by Peter Sander Lost Nation Theater (Montpelier, VT) May, 2008 "Jeffrey E. Salzberg created some elegant lighting effects, such as the rainbow kaleidoscope of the dance hall" "Jeffrey Salzberg's lighting was unobtrusive yet dramatic...." Henry V Directed by Sally Wood Lost Nation Theater (Montpelier, VT) September, 2007 "The scene in which conspirators against Henry V are executed becomes a macabre dance of grisly beauty thanks in large part to the moody lighting of Jeffrey E. Salzberg." "Dramatic lighting by Jeffrey Salzberg...helped make this a very attractive production." Hamlet Directed by Jerome Davis Burning Coal Theatre Company Raleigh, NC September, 2007 "Lighting designer Jeffrey Salzberg...create(s) just the right atmospherics for a spooky cold night in foggy old Denmark...." "The bare stage, minimal props and Jeffrey E. Salzberg’s stark lighting make for an appropriately chilly locale." Madama Butterfly Directed by Brendan Moffit Musical Direction by Adam Flatt Emerald City Opera Company Steamboat Springs, CO August, 2007 Room Service Directed by Dan Wackerman Peccadillo Theater Company (New York, NY) Off-Broadway Production: November, 2006 Off-Off Broadway Production: July, 2006 The Peccadillo Theater Company is dedicated to the revival of lost American classics. In general, plays produced by the Peccadillo will be well-written scripts which have not been performed in New York City for at least 20 years. Room Service is a farce, originally produced in the late 1930s, and was (loosely) the basis for the Marx Brothers movie of the same name. "The...lighting by Jeffrey E. Salzberg...serve(s) the play effectively... with just the right touch of realism in the lighting, including the obligatory flashing exterior lights (this is Broadway, after all)." "Jeffrey E. Salzberg's lighting...provides atmospheric touches...." "...The lighting design by Jeffrey E. Salzberg nicely compliments the cozy Bank Street stage." Judevine Directed by Kim Bent Lost Nation Theater (Montpelier, VT) April, 2007 David Budbill's Judevine is a verse play that looks at a drab, impoverished town in rural Vermont and at the people who inhabit it and give it color and humanity. The lighting design reinforced this by using a monochromatic palette that was occasionally punctuated by moments of more saturated color. The script of Judevine calls for all sound effects to be actor-generated; in Lost Nation Theater's production, this was done through use of the Judephone -- a percussion instrument constructed from found objects including oil drums, steel pipe, and other pieces of metal. The Judephone furnished, at various moments, bells and chimes, thunder, engine sounds, and other effects for which there is no name. "A suggestive backdrop...along with creative light by Jeffrey Salzberg and realistic costumes...all come together to create the bleak but caring atmosphere." The Judephone also was used as a visual metaphor, serving as an oil-fired heater a welding bench (the fire and welding effects being done entirely with light), a beer cooler, and a cathedral, as well as its use as a piece of scenery and an acting position. Various lighting fixtures were mounted within, or focused on, it to reinforce the various images. "The black-and-white backdrop...adds to the poetry, as it takes on shadowy, brooding dimension with the changing stage light." Between Sand and Stars Directed by Eric Bass Sandglass Theater, at the 8e Festival international des artes de la marionnette (Jonquière, Quebec) September, 2004 Between Sand and Stars, a collaboration between Sandglass Theater, Gemini Trapeze (former Cirque du Soleil artists), and Rob Mermin of Circus Smirkus, is a tale of creativity and flight, told with puppets and aerialists and inspired by the writing of Antoine de Saint-Exupéry. The piece traces the travails of The Pilot, who -- having crash-landed in the Sahara in the early days of aviation -- must somehow survive. The story is largely told through flashbacks to happier times until, in a dramatic climax, he is rescued by the "Men of the Desert." Sandglass Theater is an internationally known theater company specializing in the use of the puppet and visual imagery. Since 1982, the company’s productions have toured 24 countries, performing in theaters, festivals and cultural institutions, and won international prizes. Sandglass Theater was founded in Munich, Germany and is now based in Putney, Vermont. Gemini Trapese (Elsie and Serenity Smith) are identical twins specializing in aerial acrobatics. They appeared as the acclaimed Duo Trapeze act on Cirque du Soleil's Saltimbanco. The sisters' teaching & performing backgrounds include Ringling Bros. & Barnum and Bailey Circus, Circus of the Kids, the New Pickle Circus, Pilobolus, Canopy Aerial Dance Studio, Sea World & Circus Smirkus. Circus Smirkus gives kids a chance to run away and join the circus – with their parents' blessings. Since 1987, they have provided a format for youths and adults to collaborate in life-enhancing adventures in the circus arts. Mrs. Bob Cratchit's Wild Christmas Binge Directed by Keith Baker Bristol Riverside Theatre (Bristol, PA) November, 2007 Sea Marks Directed by Tessie Hogan and V Craig Heidenreich Banyan Theater (Sarasota, FL) April, 2003 "The simplicity and clarity of Jeffrey E. Salzberg's lighting helped to create some of the most moving moments on stage this season and added to the emotional depth of "Sea Marks." "Low-key but effective in establishing the place...and the ambience (soft and poignant)." A Soldier's Play Directed by Eileen Morris and Alex Allen Morris Click to see letter of recommendation Ensemble Theatre (Houston, TX) May, 1994 "...the play's shifting time frames (are handled) with clarity and precision, aided by the effective...lighting design of... Jeffrey E. Salzberg." Charles Fuller's Pulitzer Prize-winning A Soldier's Play is the story of the investigation into the murder of a Black army sergeant in 1944. The plot develops through closely-interwoven flashbacks and "real-time" scenes, the transitions between which were handled by the lighting design, augmented by minor changes in costume and sound. The lighting designer's concept was based on articulation, specificity, and detail. The finished design was extremely fluid, with some cues sharply defined while others flowed smoothly from one to another. The lighting designer used scenic elements symbolically, notably the barracks window, which was used as a visual metaphor for the manner in which Black soldiers in the segregated army were figuratively penned in and prevented from full participation, and the captain's office, which was often dimly lit even when empty to symbolize the omnipresence of the power structure which did not allow these soldiers to serve their country in the same ways that others were able to do so. The lighting for the "real-time" scenes was starkly realistic while the flashback lighting was impressionistic; for example, while no attempt was made to precisely reproduce the lighting one might have found at night alongside a 1944 rural Louisiana roadside, the general feeling of such a scene was created with color, angle, intensity, and pattern. Since the flashbacks are dramatizations of various characters' accounts of the story, the lighting designer presented those scenes as filtered through those characters' memories, primarily through subtle use of projected patterns and saturated colors. As the tension in the plot heightened, the lighting became starker and more shadowy and the color saturation increased. "...Jeffrey E. Salzberg's lighting and Winifred Sowell's set... were also pluses in a most enjoyable show." ADDITIONAL THEATRE AND MUSIC LIGHTING