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Theatrical Projection Design and Videography
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.
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
The most impressive, jaw-dropping examples of ingenuity were the breath-taking scenic projections created by Jeremy Knight. —Contra Costa Times
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).
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.
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. —The 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
Jeremy Knight's projections were for the most part
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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 half snake, known as the “Mother of All Monsters” because most of the monsters in Greek myth were mothered by her.