Podcast appearances and mentions of jules fisher

Day two after the first night of shows, heartfelt and high energy. Filled to the brim with intense sense impressions, we are ready with the second program. We have Another Life, Lise Haller Baggesen and Mental Cuties guesting our studio, and you can hear reports from yesterday's shows, as well as recommendations for today's and of course hear tracks from some of the performing artists. TRACKLIST: Kuunatic - Titián Excerpts from 'It doesn't look like anything to me' by Jules Fisher and Josefine Opsahl Excerpts from 'A space where your voices can live' by Lise Haller Baggesen Melodi Ghazal - Motivational Quote Leenalchi - A fish map

Randy discusses the Rexel investigation, the October issue of designing lighting (dl) is out, Jules Fisher to receive Ming Cho Lee Award, Universal Douglas has an opening for an Inside Sales Rep, and MaxLite and Habitat for Humanity celebrate 10 years of partnership.

In this episode of LIGHT TALK, The Lumen Brothers (and SISTAH!) interview Broadway Veteran and Legend of Light, Beverly Emmons.   Join Beverly, Ellen, Stan, David, and Steve, as they pontificate about:  The influence of the great pioneers of stage lighting design; Working with Jules Fisher; The challenges of gender in the theatre profession; Designing for Merce Cunningam, Martha Graham, and Robert Wilson; Commercial Theatre; Changes in Broadway over the years; and The "Tik Tok Zeitgeist".    Nothing is Taboo, Nothing is Sacred, and Very Little Makes Sense.

SHOWS: Pippin, Chicago, and Angels in America Their collaboration is one of the longest in theatre history and their brilliant lighting designs have enriched every show on which they work. Solo, Jules Fisher was the lighting designer on the original productions of Pippin, Chicago, La Cage Aux Folles and many more. Once Peggy Eisenhauer became his creative partner, their credits included Angels in America, Jelly's Last Jam, Bring in Da Noise, Bring in Da Funk, Ragtime, Shuffle Along, and so many more Jules + Peggy pull back the curtain on their career to discuss how Bob Fosse demanded new ideas, what it was like working under the guidance of Jo Mielziner, and why George C. Wolfe requested that black be a color in lighting. Also, Jules+Peggy shine the spotlight on Joe Mantello, Graciela Daniele, and Feder! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advanced knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4 Learn more about your ad choices. Visit megaphone.fm/adchoices

It’s the 50th episode of Casting Light, and we’re doing something different this time. With our business in flux and many people looking for some guidance, we’ve put together an incredible panel to answer the question, “OK, now what?” Reinvention, keeping abreast of industry changes, knowing how to nurture relationships, continuing education, and financial planning all play a part regardless of the state of the business, and our guests discuss all these topics and more on this episode.We’ve got Laura Frank, a top-flight lighting programmer who became a screens producer when she saw how digital lighting was going to affect the industry, ultimately building her own framework and systems to manage all aspects of media; Brad Schiller, who was one of the people who defined what the job of programmer was before moving on to develop consoles, manage products, and represent the biggest names in lighting manufacturing; David Leonard, who had a full career as a theater educator before moving on to assist the great design team of Jules Fisher and Peggy Eisenhauer, and then becoming a high-end real estate agent; and Marty Postma, who worked as a lighting designer and lighting director for music venues and on national and international concert tours for decades before becoming a sales manager for Robe Lighting.Be sure to check out Brad’s newly released book, “Living the Lighting Life: A Guide to a Career in Entertainment Lighting” in which he delves even deeper into many of the topics we discuss on the show.

Multitalented and multi-genre, Hillary Knox has found himself involved in fascinating projects throughout his career. Growing up in Nashville, he thought he would be a musician – but he soon discovered that the lighting department was where he fit. He cut his teeth working at Opryland before attending Carnegie Mellon University. During his last semester, he interned with the great design team of Jules Fisher and Peggy Eisenhauer, and he’s been on the move ever since.Hillary was an early adopter and user of the Wholehog II, and that formed the base he built his career on. After a stint at The Obie Company, he made his Broadway debut programming lighting for LD Nigel Levings on Baz Lurhman’s 2002 revival of La Boheme. He was then tapped to program media and projections on Wicked for projection designer Elaine J. McCarthy, an ambitious project in every way.Today, you’ll find him programming lighting on The Late Show with Stephen Colbert, part of a team that includes lighting designer/lighting director Michael Scricca and programmer Constantine Leonardos. Hillary told us how the show worked and what typical daily operations before mid-March, as well as how studio operations have had to adjust to our current situation, from COVID-19 testing twice week to fully socially distanced positions in the studio.Thanks for listening!

"Prelude/Prologue" by Aaron Haynes. Be sure to check out the rest of his work, too. Make-up by Pat McGrath. Lighting by Jules Fisher. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/evan-fleischer/support

A great light show has been an element of the most well-loved and successful nightclubs and music venues since Jules Fisher and Paul Marantz put together the iconic designs for Studio 54 40 years ago. It took some time for promoters, club owners, and event producers to catch on, though – when Steve Lieberman entered the business 25 years ago, he didn't know he was getting in on the ground floor of an industry that was about to grow into a global powerhouse. While he started lighting events and parties with 5000 attendees, he now lights massive, multi-day events that see 150,000 attendees per day. From Electric Daisy Carnival to Ultra to Coachella, Steve and his company SJ Lighting travel the world using lighting, video, and scenery to create environments for festivals, EDM events, and nightclubs. Steve joined us to discuss all elements of this unique part of the business, how both it and his career blossomed together, and how he assembles, manages, and operates the massive electronic dance music shows he is known for. We also discussed his work as a nightclub designer, what documentation and paperwork go into making a club design actually work, and what some of the pitfalls are in that end of the business. Many thanks to Steve for joining us, and many thanks to you for downloading and listening!

From the first time he saw a Jules Fisher design on stage, Chris Lee knew what he wanted to be. His passion for theater has taken him to Broadway, the West End, Tokyo, and all around the world, creating lighting for theatricals, film, opera, television, cruise ships, theme parks, and Las Vegas spectacles. During the journey, Chris has been nominated for numerous awards, and he's taken home a Helen Hayes Award and an Artvoice Artie Katherine Cornell Award. Join your host Jason Marin and co-host Theresa Unfried as we discuss elements from Chris' 25-year career in the arts. We discussed the theatrical projects Martin Short: Fame Becomes Me and Shakespeare's R & J in depth, learned about the process of designing a massive theme park show from the ground up, and got a look at the more corporate world of automobile events. We also talked about his lengthy and productive relationship with the Signature Theatre; he's designed over 40 shows there.

Welcome to a special two-part interview with Moving Light Programmer Tim Rogers. In this week's episode, Cory and Tim discuss the history of the ML programmer on Broadway, the importance of the community of programmers, and his process, from sitting down at the desk for the first time until opening night. Tim shares stories from working with Howell Binkley, Jules Fisher and Peggy Eisenhauer, what it's like trying to balance work and a family that includes three kids, and discusses the departmental nuances between the lighting designer, the associate and the programmer. SPEAKING of which...come back next week for part two when Jason Lyons joins the conversation as we give you access inside the world of a designer and his long time programmer in a way like never before.

You'll need two hands to count the number of Tony noms this week's guest has garnered, it's Beverly Emmons! Cory and Beverly cover her vast and varied career and her collaborations with such luminaries as Martha Graham, Jules Fisher, Merce Cunningham and Kenny Leone. She recounts becoming an LD by way of dance school, her longstanding relationship with USA 829 and her involvement in the union exam, how the idea for The Lighting Archive came about, and what is was like following in the footsteps of Jean Rosenthal, Peggy Clark, and Tharon Musser. She also shares her thoughts on lighting research, hand drafting, pre-visualation tools, balancing work and family and a whole host of other topics. And hear her describe an incredibly bizarre and fascinating design process proposed by Robert Rauschenberg for a dance by Merce Cunningham in which she created a randomized cue structure out of mostly existing worklights, hall lights, grid lights and flashlights that could never be the same from performance to performance. Pretty soon you'll be yelling to turn the worklights ON!

In 1977, Studio 54 was transformed into a nightclub by Steve Rubell and Ian Schrager, with Jack Dushey as a financial backer. They operated the company as Broadway Catering Corp. It took only six weeks to transform the theater into a nightclub and cost $400,000.[11] Rubell and Schrager hired Ron Doud as interior designer and Brian Thompson as lighting designer. Jules Fisher and Paul Marantz, two well-known Broadway theatrical set-designers, helped convert the theater into a dance floor and created moveable, theatrical sets and lights using the original theatrical fly rails, which allowed for a constantly changing environment. Within a month of opening, the New York State Liquor Authority raided Studio 54 for selling liquor without a license, and closed it. The owners of the nightclub said the incident was a "misunderstanding". The next night the club reopened, serving fruit juice and soda instead of liquor. Prior to the raid, the nightclub had been using daily "caterers' permits", which enabled the nightclub to serve alcohol but were intended for weddings or political events.[12] The State had denied the daily permit for the night and raided the nightclub. The nightclub had been using these permits while waiting for its liquor license to be processed. http://en.wikipedia.org/wiki/Studio_54 There is a story about Richard Vasquez in the foremost book about Studio54. Anthony Haden-Guest. The Last Party: Studio 54, Disco, and the Culture of the Night (New York: William Morrow and Company, 1997) ISBN 978-0688160982 Tracklist for #423 1.Copacabana - ShirleyBassey 2.Bahia - ElCoco.MichaelLewis.LaurenRinder (AviRecords) 3.Celebramos - Kool&TheGang 4.Let'sGetWet - PrincePhillipMitchell 5.TakeMeInYourArmsTonight - TeddyPendergrass 6.PapaWasARollingStone – Temptations 7.HustlerBill - FirstChoice 8.M'Lady - Sly&TheFamilyStone 9.SetMeFree - Supremes 10.NeverCanSAyGoodbye – GloriaGaynor 11.NeverGonnaSayGoodbye - Poussez 12.TheOtherSideOfMidnight(Damaged) 13.SymphonyOfLove - MiguelBrown 14.Saturday - NormaJean 15.LetMeTakeYouDancing - BryanAdams

The Lighting Designer - with Jules Fisher

The panel - actress Brenda Braxton (Jelly's Last Jam), Mettawee River Theatre Company puppet/costume designers Casey Compton and Ralph Lee (Wichikapache Goes Walking), producer/lighting designer Jules Fisher (seven-time Tony Award winner for, among others, Pippin, Chicago, Dancin’ and Jelly’s Last Jam), director Michael Greif (Pericles), and costume designer Toni-Leslie James (Jelly's Last Jam) - discuss the significant roles of lighting and costume design, the relationship between designers and director, their education and early training, and design budgets; plus a demonstration of costumes and puppets.

The design panel -- lighting designer Beverly Emmons, costume designer Ann Hould-Ward (Tony Award for Beauty and the Beast), and scenic designers David Schulder and Tony Walton (Tony Award winner for, among others, Pippin, the original House of Blue Leaves and 1992’s revival of Guys and Dolls) -- and co-moderater lighting designer Jules Fisher (seven-time Tony Award winner for, among others, Pippin, Chicago, Dancin’ and Jelly’s Last Jam) -- talk about where they studied their craft, how the props can overlap with costuming, how lighting design has evolved, the Ridiculous Theatrical Company's production of Movieland, and a demonstration of Gary Beach's costume from Beauty and the Beast.

The design panel - lighting designer Beverly Emmons, costume designer Ann Hould-Ward, and scenic designers David Schulder and Tony Walton - and co-moderater lighting designer Jules Fisher talk about where they studied their craft, how the props can overlap with costuming, how lighting design has evolved, the Ridiculous Theatrical Company's production of "Movieland", and a demonstration of Gary Beach's costume from "Beauty and the Beast".

The panel of lighting designers Jules Fisher ("Ragtime") and Donald Holder ("The Lion King"), scenic designers Eugene Lee ("Ragtime") and Ming Cho Lee (The Public Theater), and "The Lion King" associate costume designer Mary Peterson discuss the challenges of designing their current shows, how sets, lighting, and costumes complement each other, display and detail a costume from "The Lion King", and present a model of one of the "Ragtime" sets.

The panel of lighting designers -- Jules Fisher (seven-time Tony Award winner for, among others, Pippin, Chicago, Dancin’ and Jelly’s Last Jam) and Donald Holder (Tony Awards for The Lion King and the 2008 revival of South Pacific), scenic designers Eugene Lee (Tony winner for Candide, Sweeny Todd and Wicked) and Ming Cho Lee (from the Public Theater and 1983 Tony Award winner for his scenic designs for K2), and The Lion King associate costume designer Mary Peterson -- discuss the challenges of designing their current shows, how sets, lighting, and costumes complement each other, display and detail a costume from The Lion King, and present a model of one of the Ragtime sets.