As a general rule, scenic and lighting designs should almost never be trying to get noticed. A good design supports the show and makes it better, but not so much that it's the focus of the audience or the critics. Even so, it's always nice when someone notices all the hard work... Here are just a few of the things the critics had to say about past designs. |
| - Director Spencer Driggers is
especially lucky to have designer Stephen Pruitt to provide the perfect
stark, multilevel setting, dominated by a rebar tree whose branches
extend seemingly everywhere. (Post Oedipus, Blue Theater, 2010)
|
|
- Stephen Pruitt’s starkly atmospheric set and lighting -
all exposed metal bars, ripped gauzy cloth, plain wood platforms -
completes the picture. (Post Oedipus, Blue Theater, 2010)
|
| - Austin Chronicle's Top 9 of 2009 - Ways to Decorate a Set: #3 - Stephen Pruitt for 'CYRANO DE BERGERAC' (Mary Moody Northern Theatre) Mirrors, mirrors everywhere! Plus, Kim H. Ngo's costumes were to die for.
|
| - That lighting director Stephen Pruitt managed to engagingly illuminate such a vast outside area seemed nearly miraculous. That Pruitt did so to great dramatic effect even more so. (The Trash Project, Forklift Dance, 2009)
|
- But machine-as-extension-of-human was most apparent in a solo for a crane and its operator, Don Anderson. To Reynolds' sweeping, poignant strings (and Stephen Pruitt's quiet lighting), Anderson – I swear I'm not making this up – turned this hunk of metal and wires into something with qualities you might imagine shared by a prehistoric bird. (The Trash Project, Forklift Dance, 2009)
|
- Guest lighting designer Stephen Pruitt has marshaled his illumination so carefully that a thick blanket of blackness seems to surround the proceedings from the moment those three witches scamper out of their hidey-holes to decide when they shall meet again. It hangs so heavily above the action and at its edges that even when the stage is bathed in golden light, that oppressive darkness seems to weigh on it, ready to drop in an instant, smothering all that exists. (Macbeth, Mary Moody Northern Theater, 2007) |
-When Ananda Mayi Moss' Eye for an I opened, the stage was smoky with a blinking red light flashing the stage like a seedy hotel bar sign. Lighting designer Stephen Pruitt strutted his stuff, matching the sultriness of the dancers with darkly expressive colors. (Paths, Ballet East Dance Theater, 2003)
|
- This complex, living tableau, lit to perfect moods by Stephen Pruitt, draws us in with its precise arrangements of interdependence and its gently elusive chains of internal logic. (The Kindermann Depiction, Physical Plant Theater, 2002)
|
- Stephen Pruitt’s scenic design and Zach Murphy’s lighing design come together in a marvelous crosshatch of wires, tubes and lightbulbs. (Requiem for Tesla, Rude Mechanicals, 2001)
|
| - The combo of Stephen Pruitt’s lighting and Christopher A. Sidorfsky’s music enhance the story, but they too, could stand on their own as a phenomenon worth experiencing. (Anna Bella Eema, Refraction Arts, 2001) |
| In addition, Stephen is the only designer to be nominated
for multiple Critics' Table and B. Iden Payne Awards in both the
Outstanding Lighting Design and Outstanding Scenic Design categories.
Fluxion Designs is the place to come when you want all of the technical
elements to work together and make your production or event as good as
it can possibly be. |

There are several places you can go from here for more information
about me and my work...
Contact me at: stephen
at
fluxiondesigns.com
My photographic work can be seen and purchased Here.
To see more examples of my design work, click on an image below.
Scenic Design |
Lighting Design |
Events |
| Home | Lighting | Scenic | Events | Photography | Rentals | Links |