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Kate Bashore
Dead Man's Cell Phone

Author: Kate Bashore

Performance space: Clarence Brown Lab Theatre

Theatre company/company produced for: Clarence Brown Theatre

Month & year of original production: March 2012

Description of items intended for exhibition:
Drawing

Project description:
Dead Man’s Cell Phone is about making connections: how people strive, and in many cases struggle, to maintain true relationships with the others in their lives. The design team embraced the film noir references of the script, which became instrumental in defining the visual environment of this production. The lighting design employed the use of strong shadows, sharp lines, and steep angles to create an intriguing balance between light and dark. Combining these choices with the use of shadow play allowed me to create two worlds simultaneously, visually telling multiple stories in a single image.

The production was primarily set in a monochromatic world - one that was sporadically interrupted by color for emphasis. I was personally inspired by James Turrell’s minimalist designs - his use of geometric shapes and strong blocks of color. Drawing on his sleek and simple compositions, I was able to heighten the emotion of particular moments by introducing color into the world.

Artform:
Lighting Design

Designers:
Set designer: Andy Karlin
Costume designer: Elizabeth Aaron
Lighting designer: Kate Bashore
Sound designer: Mike Ponder
Digital video NA: Kate Bashore
Director/choreographer: Casey Sams

Image gallery

Kate Bashore - Dead Man's Cell Phone

Transition into Act 2
As we transitioned back into Act 2, I provided a moment for Gordon's silent reflection on his prior life by creating the connection between a human form and a projected silhouette.
Photo by Kate Bashore

Kate Bashore - Dead Man's Cell Phone

Act 1, Scene 5 - Dinner at the Gottlieb's
We designed the dining room to be elegant and uninviting. The lighting was stark and sterile - the opposite of a traditional dining room. It provided for great contrast to the more intimate scenes throughout the play.
Photo by Kenton Yeager.

Kate Bashore - Dead Man's Cell Phone

End of Act I - Snow Parade
As Jean allowed herself to find comfort in another human being, the world began to shift around her. The idea of the paper house that Dwight had created for her expanded throughout the space, reinforced by a starfield of houses and house lanterns. In the final moments before the end of Act 1, Gordon's shadow appears, interrupting the skyline and casting an ominous presence over the stage.
Photo by Kenton Yeager.

Kate Bashore - Dead Man's Cell Phone

Act 2, Scene 1 - The Last Day of Gordon's Life
The scene takes place in a nondescript location - somewhere between life and death. To reinforce the film noir nature of Gordon's character, the lighting was high contrast, consisting of steep angles, harsh shadows, and strong directionality.
Photo by Kenton Yeager.

Kate Bashore - Dead Man's Cell Phone

Act 2, Scene 1 - The Heart Attack
As Gordon relives the heart attack that claimed his life, the lighting became cold and constricted. It was intensely focused on Gordon, emphasizing the pain of those final moments before the release of death.
Photo by Kenton Yeager.

Kate Bashore - Dead Man's Cell Phone

Act 2, Scene 5 - The Cell Phone Ballet
The cell phone ballet was a beautifully choreographed sequence, combining kinetic video elements with fluid lighting. Using James Turrell's installations as a source of inspiration, the back wall became a solid block of ever-changing color.
Photo by Kenton Yeager.

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