Jeremy Knight
theatrical projection design and videography
 
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The Cunning Little Vixen

By Leoš Janáček. Directed by Patrick Diamond, conducted by Jonathan Khuner, set design by Sarah Phykitt, lighting design by Kevin August Landesman, costume design by Christine Crook, wig and makeup design by Sophia Smith. Produced by West Edge Opera at the abandoned SP Railway Station in Oakland, California, July/August, 2016.


Images were projected on the set, which featured two large downstage trees encrusted with various kinds of junk and a tree-patterned drop upstage.

Given the design of the set, the constraints of the train station, and a limited budget, there was no practical way to use large theatrical projectors — so as with many previous productions, we used inexpensive business presentation projectors. This year the West Edge Opera Mac Pro was upgraded to a late 2013 model, allowing the use of five projectors. A wide angle (0.4 lens) 3200-lumen projector covered the upstage drop, two 3000-lumen wide angle (0.61 lens) projectors illuminated the downstage trees, and two more 2500-lumen projectors provided graffiti images on the downstage tree trunks. These last four projectors were placed on tables in the orchestra area, over mild objections from the musicians.


Although the two massive trees flanking the stage — made out of junk — were a bit obvious, the projections (designed by Jeremy Knight) made the most of the small space. A brick wall and mounted deer head, superimposed on the forest backdrop, instantly transported the characters to an inn, and the use of digital spray paint, in particular, was creative.
     —Rebecca Wishnia, San Francisco Classical Voice

Staging "The Cunning Little Vixen," especially on such a tight stage, poses a challenge with choreography and blocking, resulting in some overcrowding. But the innovative lighting and projection that created a full moon and the illusion of the Sharp Ears and her Fox lover graffiti-tagging a sunflower and a heart was a fun nod to the inner urban canvas.
     —Christine Okon, theatrestorm.com

Diamond's layered storybook production, which features Jeremy Knight's projections behind Sarah Phykitt's cutout trees crafted from cardboard and hubcaps, gives the opera an abundance of whimsical touches
     —Georgia Rowe, San Jose Mercury News

The richness of the scenery derives from the use of projections which, among others, cast green to depict nature and as a brick wall to depict a drinking house.
     —Victor Cordell, forallevents.info


Images projected on the upstage drop and downstage trees:









Animation for spray-painted graffiti sunflower:




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