Les Dickert – Lighting Designer

 

LES DICKERT (Lighting Design) Mr. Dickert has worked with numerous major international dance venues, including Edinburgh International Festival; Sadler’s Wells; The Royal Ballets of Denmark, Flanders, England and Holland; Bayerisches Staatsballet; Berlin Staatsoper Unter den Lenden; National Ballet of Canada; Australian Ballet; Milan La Scala Ballet; Teatro Argentina; and the Izmir Dance Festival. In the United States, he has designed for Boston, Tulsa, Portland, Pennsylvania, Kansas City, Westchester and Miami City Ballets; Jacob’s Pillow; Kennedy Center; Brooklyn Academy of Music; among many others. As past resident designer of the White Oak Dance Project, he collaborated with artists such as Mikhail Baryshnikov, Lucinda Childs, Mark Morris, Trisha Brown, Yvonne Rainer, and Steve Paxton. Mr. Dickert has designed for a number of regional theaters in the USA, including Triad Stage, GeVa Theater, Shakespeare and Company, Syracuse Stage, Great Lakes Theater Festival, Idaho Shakespeare, Milwaukee Shakespeare, Adirondack Theater Festival, and Portland Stage. He has lectured at Yale and Cornell Universities, Ithaca and Connecticut Colleges, and the Juilliard Institute. Mr. Dickert is a graduate of the Yale School of Drama.

Visit Les Dickert’s Website

Congrats to Costume Designer SYDNEY GALLAS for her work on the luminous, “affecting” HUNDRED DAYS, infused with a “slithery ominousness” that “takes you places you don’t expect to go” – check out the NYT review of this celebration of romance turned “haunting meditation on mortality,” part of the Public Theater’s UNDER THE RADAR Festival.

Check out the New York Times Review: What if ‘Until Death Do Us Part’ Means a ‘Hundred Days’? Photo credit: Sara Krulwich for the New York Times

The “bitter beauty” of The Barrow’s Group’s “must-see” ABIGAIL’S PARTY sustained by Matt Otto’s “smart” sound design and Edward T. Morris’s “evocative” set.

Congratulations to Summit's Matt Otto (sound designer) & Edward T. Morris (set designer) on their work in The Barrow Group's ABIGAIL'S PARTY, a NYT Critics' Pick, and read the review here: "Review: Innocuous Remarks Double as Cutting Commentary in 'Abigail's...

‘Edmonton & Albert Audiences “enthralled” by Judanna Lynn’s “lavish” DRACULA costumes & Christina R. Giannelli’s lighting’

Congratulations to costume designer Judanna Lynn and lighting designer Christina R. Giannelli on the opening of their gorgeous, seductive Dracula at the Alberta Ballet! Check out the reviews here: Edmonton Journal: Alberta Ballet's Dracula seduces Edmonton audience......

WONDERFUL TOWN at the Goodman Theatre: Ana Kuzmanic, Costume Designer; Ray Nardelli, Sound Designer; Chuck LaPointe, Wig Designer

"But I have to say that when Ruth and Eileen, the two transplants from Columbus, Ohio, arrive in their subterranean Greenwich Village hovel (in Todd Rosenthal's droll, primary-colored design, the dump arrives from the pit, as if from hell) and encounter a dude playing...

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