Hadestown Teen Edition
Company
SkyRise Theater
Director
Jacob Sewell
My Role(s)
Lighting Designer
Date
June 27th, 2025
Gary Doering (Tech Booth Photo)
I went into this project with four design goals in mind: naturalism, depicting contrasting settings, representing characters’ control and soliloquy, and demonstrating a presence of electricity.
To achieve naturalism, I avoided using effects in most musical numbers. This made the few moments that did include effects feel more impactful. Another aspect of the design’s naturalism was leaning into the natural shadows created by scenery and performers, allowing those shadows to emphasize characters’ emotions and the show’s setting.
To achieve naturalism, I avoided using effects in most musical numbers. This made the few moments that did include effects feel more impactful. Another aspect of the design’s naturalism was leaning into the natural shadows created by scenery and performers, allowing those shadows to emphasize characters’ emotions and the show’s setting.
To achieve naturalism, I avoided using effects in most musical numbers. This made the few moments that did include effects feel more impactful. Another aspect of the design’s naturalism was leaning into the natural shadows created by scenery and performers, allowing those shadows to emphasize characters’ emotions and the show’s setting.
The angle of light was also considered through the lens of creating a natural environment. In nature, light—whether from the sun or reflected by the moon—typically shines from a distinct angle and pools to create a lit atmosphere. I focused on using high side lights with warm and cool gels, as well as side lights with breakup gobos, to illuminate the natural world above Hadestown. As a final way of emphasizing naturalism, I avoided sharp light edges and encouraged light to spill onto the set.
The angle of light was also considered through the lens of creating a natural environment. In nature, light—whether from the sun or reflected by the moon—typically shines from a distinct angle and pools to create a lit atmosphere. I focused on using high side lights with warm and cool gels, as well as side lights with breakup gobos, to illuminate the natural world above Hadestown. As a final way of emphasizing naturalism, I avoided sharp light edges and encouraged light to spill onto the set.
The angle of light was also considered through the lens of creating a natural environment. In nature, light—whether from the sun or reflected by the moon—typically shines from a distinct angle and pools to create a lit atmosphere. I focused on using high side lights with warm and cool gels, as well as side lights with breakup gobos, to illuminate the natural world above Hadestown. As a final way of emphasizing naturalism, I avoided sharp light edges and encouraged light to spill onto the set.
As the story descends into Hadestown, I built a contrast between the show’s “Overworld” and “Underworld” settings using both color and intensity. I planned two separate front light systems: one with a 1/2 CTO gel shining from a 45° angle on house left, and another with a 1/4 CTB gel from 45° on house right. This McCandless-style front light helped distinguish the harsh, inhumane “Underworld” from the cooler tones of the “Overworld.”
As the story descends into Hadestown, I built a contrast between the show’s “Overworld” and “Underworld” settings using both color and intensity. I planned two separate front light systems: one with a 1/2 CTO gel shining from a 45° angle on house left, and another with a 1/4 CTB gel from 45° on house right. This McCandless-style front light helped distinguish the harsh, inhumane “Underworld” from the cooler tones of the “Overworld.”
As the story descends into Hadestown, I built a contrast between the show’s “Overworld” and “Underworld” settings using both color and intensity. I planned two separate front light systems: one with a 1/2 CTO gel shining from a 45° angle on house left, and another with a 1/4 CTB gel from 45° on house right. This McCandless-style front light helped distinguish the harsh, inhumane “Underworld” from the cooler tones of the “Overworld.”
Light intensity also played a major role in separating the two environments. I used a set of fourteen fresnel top lights to illuminate both spaces, but relied on their tungsten shift to drastically alter the mood. At 10–25% intensity, the fresnels provided just enough warmth to hair-light performers amid a sea of cool LED light. In Hadestown, those same fresnels at 40–60% acted as bright factory lighting that reinforced Hades’ control.
Light intensity also played a major role in separating the two environments. I used a set of fourteen fresnel top lights to illuminate both spaces, but relied on their tungsten shift to drastically alter the mood. At 10–25% intensity, the fresnels provided just enough warmth to hair-light performers amid a sea of cool LED light. In Hadestown, those same fresnels at 40–60% acted as bright factory lighting that reinforced Hades’ control.
Light intensity also played a major role in separating the two environments. I used a set of fourteen fresnel top lights to illuminate both spaces, but relied on their tungsten shift to drastically alter the mood. At 10–25% intensity, the fresnels provided just enough warmth to hair-light performers amid a sea of cool LED light. In Hadestown, those same fresnels at 40–60% acted as bright factory lighting that reinforced Hades’ control.
A key aspect of Hadestown’s storytelling that I wanted to highlight was the control that different characters possess and the moments of soliloquy they each have. I leaned into characters’ thoughts during their soliloquies by isolating them from their surroundings and allowing their emotions to be reflected in the LED side lights rigged on either side of the stage. During moments of outward control, I attempted to center performers within their scene, only showing their expressions while simply lighting the form of others.
A key aspect of Hadestown’s storytelling that I wanted to highlight was the control that different characters possess and the moments of soliloquy they each have. I leaned into characters’ thoughts during their soliloquies by isolating them from their surroundings and allowing their emotions to be reflected in the LED side lights rigged on either side of the stage. During moments of outward control, I attempted to center performers within their scene, only showing their expressions while simply lighting the form of others.
A key aspect of Hadestown’s storytelling that I wanted to highlight was the control that different characters possess and the moments of soliloquy they each have. I leaned into characters’ thoughts during their soliloquies by isolating them from their surroundings and allowing their emotions to be reflected in the LED side lights rigged on either side of the stage. During moments of outward control, I attempted to center performers within their scene, only showing their expressions while simply lighting the form of others.
To further emphasize characters’ control, I washed the stage in color that complemented whoever was exerting power in the scene. Hadestown, already shadowed in deep amber, shifts toward red when Hades enters. A large portion of Act I shows Hades observing from a platform above the rest of the cast. I focused a subtle red backspot on him to foreshadow his dominance.
To further emphasize characters’ control, I washed the stage in color that complemented whoever was exerting power in the scene. Hadestown, already shadowed in deep amber, shifts toward red when Hades enters. A large portion of Act I shows Hades observing from a platform above the rest of the cast. I focused a subtle red backspot on him to foreshadow his dominance.
To further emphasize characters’ control, I washed the stage in color that complemented whoever was exerting power in the scene. Hadestown, already shadowed in deep amber, shifts toward red when Hades enters. A large portion of Act I shows Hades observing from a platform above the rest of the cast. I focused a subtle red backspot on him to foreshadow his dominance.
Finally, electricity was a central theme in my design. Hades describes himself as “Conduct[ing] the Electric City” of the underground. I aimed to reflect the fragility of his authority through the instability of electrical light. I used flickering effects during intense moments—on the strung Edison bulbs, the dimmable lanterns hanging above the set, and other lighting fixtures throughout the rig.
Finally, electricity was a central theme in my design. Hades describes himself as “Conduct[ing] the Electric City” of the underground. I aimed to reflect the fragility of his authority through the instability of electrical light. I used flickering effects during intense moments—on the strung Edison bulbs, the dimmable lanterns hanging above the set, and other lighting fixtures throughout the rig.
Finally, electricity was a central theme in my design. Hades describes himself as “Conduct[ing] the Electric City” of the underground. I aimed to reflect the fragility of his authority through the instability of electrical light. I used flickering effects during intense moments—on the strung Edison bulbs, the dimmable lanterns hanging above the set, and other lighting fixtures throughout the rig.
As Hades’ influence grew over the “Overworld” in Act I, I also designed glitching effects into the practical lighting to show his creeping control.
As Hades’ influence grew over the “Overworld” in Act I, I also designed glitching effects into the practical lighting to show his creeping control.
As Hades’ influence grew over the “Overworld” in Act I, I also designed glitching effects into the practical lighting to show his creeping control.
Working on this show with such talented directors, performers, designers, and technicians was an absolute honor. Their collaboration was the reason I was able to accomplish what I did with this production. I’m incredibly proud of the work we all put in to bring this show to life in just two weeks. I especially want to thank my amazing spotlight operators, who learned the show in a single day and executed it flawlessly.
Working on this show with such talented directors, performers, designers, and technicians was an absolute honor. Their collaboration was the reason I was able to accomplish what I did with this production. I’m incredibly proud of the work we all put in to bring this show to life in just two weeks. I especially want to thank my amazing spotlight operators, who learned the show in a single day and executed it flawlessly.
Working on this show with such talented directors, performers, designers, and technicians was an absolute honor. Their collaboration was the reason I was able to accomplish what I did with this production. I’m incredibly proud of the work we all put in to bring this show to life in just two weeks. I especially want to thank my amazing spotlight operators, who learned the show in a single day and executed it flawlessly.