Fluxion Scenic and Light

Welcome! Thanks for checking out the fluxion website. Stephen Pruitt has been designing lighting and scenery, writing, directing and producing theater,  and creating stunning visual images live, and on film for over fifteen years. From neighborhood dance to avant-garde theater to high society events; from no budget to six figures; from one dancer in a gallery to thousands of guests in an airplane hangar, Fluxion Scenic and Light has the experience to do the job. Take a look at some of the images below and see if you don't agree.

Two pieces of Big News! Stephen was named Outstanding Lighting Designer of the year by the Austin Critic's Table for 2010. In addition multiple projects won awards as well, including Allison Orr's The Trash Project which was recognized as Best Dance Concert. Also, I have finished editing on my first Dance for Camera experiment. A colaboration with Austin dancer Sharon Marroquin, it was shot on a Saturday afternoon in February, but for personal reasons, I didn't complete editing until recently. It was shot on a DVX100, with Sharon improvising and trying to remember a piece she did a couple years before. I'm quite happy with how it turned out, but also looking for feedback. Use the comments section at youtube to let me know what you think, or tell me via email.

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.

- 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)