Kristen Hoffman, Lighting Designer

Kristen Hoffman is a Senior and full time student at Hunter pursuing a B.A. in Theatre.
Kristen has been a part of the theatrical world since 2011. She’d like to add that she is primarily an actor, and very excited to announce this is her first time designing lights for a show! Even though her work will not be able to be seen live in a theatre, she is proud of what she’s been able to learn and accomplish during her time with the Loewe-CoLab team. Kristen was inspired to do lighting for CoLab after taking her Mentor, Ian Calderon’s, lighting design class last spring, and after spending the summer seeing how lighting manifests in film and television. She would like to thank her family and friends for always supporting her. Fun fact: The Joker was the most interesting movie she observed this summer in terms of lighting! @misskristenhoffman



Questions from Students

About Kristen

• How might a lighting transition accompany scenic transitions between the two realms? (Nihal Mahir)

In our production of Eurydice, we kept to Sarah Ruhl’s direction of “No Set changes”, and that meant to us that the transitions between the two realms was going to fall mainly on the look and movement of the lights. The lights follow the story almost as an audience guide, and the look of the lights in transition depends on who the scene is cutting to, is someone is traveling through the realms, who is travelling through the realms, and even at what point in the story. For example, there are simple lights to help accompany a brief transition from the overworld into the underworld when we see the Father the first time, the lights simply shift from the platform upstage to the deck down stage and the color on the cyclorama shifts. That transition versus when the show the transition from movement 1 to movement 2 , again from the overworld to underworld where we see Eurydice enter the space for the first time; this moment has several different lighting looks to help accompany the transitioning between the two realms.

• How is lighting going to be used to create a sense of difference between the over and the underworld? (Octavia Wheeler)

To get the lighting to create a difference between the look of the overworld
and the underworld took a few meetings with my director talking about how he envisioned these two realms with the overall world of the play. The overworld is very real and for the most part everything seems okay, so no one questions things. The underworld is a cold barren place (we’ve discussed it being a cave/cave-like) where they work to keep people restricted from feeling. One thing that effects both worlds in terms of how they’re lit is through Eurydice, her relationship with light lives in the colors of the lighting. In this show I use the lights to support Eurydice’s emotional state throughout the piece. After our many meetings on how the two realms exist, I began making choices on how lighting behaves in these realms. The overworld for the most part is realistic, lit naturally, and not very free in terms of color or movement when it comes to lights. Colors are fairly muted here with the exception of the inside of the apartment. The presence of different shadows in the overworld work to help establish location, a character’s emotional state, and futurity. The underworld, on the other hand, is completely surreal, it is lit primarily through bright pungent colors, the lights here can move more freely, they interact and are a part of a few elements of the underworld. The job shadows played in the
overworld gets replaced in the underworld with color. The underworld has a stronger relationship to Eurydice than the overworld. Prior to Eurydice’s arrival to the look of the Underworld it is slightly blue but mostly grey and barren, shadows don’t even exist. That is until Eurydice enters to which all of her floods out of her and into the underworld in the form of colorful lights, bringing it to life!

Lighting Design Composition

Lighting Moment Look Sheet

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