Rock Of Ages

Master Electrician/ Light Board Operator

Blinder Wall

  • 48 Lamps

  • Individually Patched & Pixel Mapped

Working with my crew, we installed 48 metal clip lights onto a CNC-cut plywood wall. Each light was secured with hot glue, and we routed the cables to four DMX relay packs, allowing for individual control of every fixture.

Working with my crew, we installed 48 metal clip lights onto a CNC-cut plywood wall. Each light was secured with hot glue, and we routed the cables to four DMX relay packs, allowing for individual control of every fixture.

Once the blinder wall was complete, it was incredible to see it in action. It perfectly captured the glow and impact of a classic ’60s blinder wall—only on a budget and custom-designed for this show.

Once the blinder wall was complete, it was incredible to see it in action. It perfectly captured the glow and impact of a classic ’60s blinder wall—only on a budget and custom-designed for this show.

We created dynamic designs with the blinder wall, including a heart shape for the romantic date scene, emphasizing the moment when the main characters begin to fall for each other.

We created dynamic designs with the blinder wall, including a heart shape for the romantic date scene, emphasizing the moment when the main characters begin to fall for each other.

Radios

Using warm LED tape and an orange gel, I created two illuminated radios designed to mimic car headlights. The LED tape was wired separately from the speakers, allowing the lights to blink like turn signals—an essential detail since the script called

Using warm LED tape and an orange gel, I created two illuminated radios designed to mimic car headlights. The LED tape was wired separately from the speakers, allowing the lights to blink like turn signals—an essential detail since the script called for the character to pull over and activate a turn signal, which was reinforced with a matching sound effect.

I began by removing the speakers from the radios and cutting two pieces of R103 gel to fit over the speaker grille. Next, I wrapped LED tape around an existing ridge inside the radios and secured it with hot glue. After wiring the LEDs to the wireles

I began by removing the speakers from the radios and cutting two pieces of R103 gel to fit over the speaker grille. Next, I wrapped LED tape around an existing ridge inside the radios and secured it with hot glue. After wiring the LEDs to the wireless controller along with the other speaker, I added tinfoil to the back to help direct the light toward the audience. The cassette tape section was created using the same method but with R23 gel to achieve the appearance of a turn signal.

Seeing these in action during the show was an incredible experience. They perfectly captured the effect we aimed for, allowing us to represent a car without physically having one. With the radios controlled wirelessly and the cassette section on a se

Seeing these in action during the show was an incredible experience. They perfectly captured the effect we aimed for, allowing us to represent a car without physically having one. With the radios controlled wirelessly and the cassette section on a separate channel and gel, we had the flexibility to create realistic lighting cues.

Guitar

  • 100+ Feet of LED Tape

  • Individually Pixel Mapped

Once the guitar was installed by our scenic team, I could see the grooves cut out for the LED strip tape. Using both the platform and a drivable Genie Lift, I carefully installed the LED strip tape, reaching up to 25 feet in the air to the edge of th

Once the guitar was installed by our scenic team, I could see the grooves cut out for the LED strip tape. Using both the platform and a drivable Genie Lift, I carefully installed the LED strip tape, reaching up to 25 feet in the air to the edge of the neck of the guitar.

Each LED strip was extended to the back of the flat, where we connected it to a terminal block before plugging it into our AlphaPix controller. The controller was mounted on the back of the guitar and received power from an address parked on the ligh

Each LED strip was extended to the back of the flat, where we connected it to a terminal block before plugging it into our AlphaPix controller. The controller was mounted on the back of the guitar and received power from an address parked on the light board.

Neon Palm Trees

To create the palm trees for this show, our scenic team cut plywood pieces routed to fit our LED neon strips. These were achieved using standard LED tape encased in a frosted rubber layer to mimic the look of neon, perfectly matching the show's theme

To create the palm trees for this show, our scenic team cut plywood pieces routed to fit our LED neon strips. These were achieved using standard LED tape encased in a frosted rubber layer to mimic the look of neon, perfectly matching the show's theme. I applied a layer of hot glue before inserting the LED tape to secure it in place.

Once hung, the palm trees perfectly captured the California vibe and could change colors to match each scene. They were controlled the same way as the guitar, using an AlphaPix controller, and were seamlessly integrated into the lighting board.

Once hung, the palm trees perfectly captured the California vibe and could change colors to match each scene. They were controlled the same way as the guitar, using an AlphaPix controller, and were seamlessly integrated into the lighting board.

Artistic Director: Jayme Klinger Host

Director & Choreographer: Tommi Galaska

Musical Director: Dan Rutzen

Stage Manager: Ingrid Pierson

Casting & Directorial Consultant: Brian Conger

Costume Design: Dorothy Austin-Harrell

Lighting Design: Michael Shoaf

Sound Design: Tyler Griffin

Scenic Design: Nolan O’Dell

TD & Production Manager: Reid Parker

Fight & Intamacy Director: Jeff A.R. Jones

Photography & Videography: John Dixon, Michael Shoaf, & BJ Emmerson

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