theatrical projection design and videography
Projection Designer Jeremy Knight devised a marvelous series of both color and black and white projections... [N]ever were the visuals intrusive or simply decorative. They were so smoothly done that as we shifted from scene to scene, we moved as in a dance, the new space unfolding almost organically from the last... Rarely does the degree and quality of the projections themselves so ratify their use. Further the choices of the particular subjects was more than apt. The particularity of place—garden, bedroom, streets—matched idea and text exceptionally well. —Lois Silverstein, OperaWire
The video projections, by Jeremy Knight, are unique; there are no sets beyond a table and two office chairs. Yet the singers move through a virtual world: stars and seas, mountains and a treasure-filled palace. —San Jose Mercury News
Behind the curtains you saw mountains, mines, cities and interiors of houses and hotels, depending on what was going on. It was a brilliant way to open up the small Julia Morgan Theater stage to the world of Horace Tabor and his beloved, indomitable Baby Doe. —culturevulture.net
For me, the single most exciting moment of the evening came early in the Ravel, when a pair of overstuffed armchairs walked off the stage and immediately reappeared on screen in cartoon form — with the addition of anthropomorphic eyes and ears that enabled them to sing. —San Francisco Chronicle
Best of all are the visual projections by Jeremy Knight, a stream of paintings by Gauguin and others that offer a telling visual counterpoint to what the audience is hearing. —San Francisco Chronicle
The production is framed as a sepia-toned silent film (wonderful projections by Jeremy Knight).
—Contra Costa Times
The production's most deliriously witty touch is a faux newsreel that begins with the 1906 earthquake and segues flawlessly into a pitch for contributions to the theater's upkeep from Julia Morgan herself.
—San Francisco Chronicle
Projection Designer Jeremy Knight provided most amazing special effects. His combined live and pre-recorded imagery in the Triumphal March video was a theatrical tour-de-force of realistic and surrealistic imagery that enhanced the sense of artificially-contrived political pagentry. —Livermore Independent
A particularly clever bit was Leporello's use of an iPhone that evoked giant onstage projections of Google maps marking the locales of Don Giovanni's thousands of seductions as an accompaniment to his famous
"Catalog" aria. —Contra Costa Times
e·chid·na (ih-KID-nuh) n. [NLat. < Lat., viper < Gk. ekhidna.]
1. The spiny anteater, of the family Tachyglossidae in the monotreme order of egg-laying mammals, native to New Guinea and Australia.*
2. In Greek mythology, Echidna (Greek: Εχιδνα, meaning “she viper”) was half woman and half snake, known primarily for being the mother of monsters, including many of the most famous monsters of Greek myth.
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