Moving through Still | Dance Photography and the Paintings of Clyfford Still in Denver

The arts run deep in my family. 

Growing up, I thought it was really cool that my grandfather was an artist. I earned an Art & Art History major in college before becoming an architect and eventually a photographer. Within a few generations we have a concert pianist, an interior designer, a jewelry designer, painters, writers, architects, actors and a photographer. 

I've always felt most alive with a creative tool in my hand -- a pencil, a camera, even a computer (to write or design) or a paintbrush. Creative spaces of all kinds excite me -- museums, galleries, theaters, libraries and studios.

Artists and creators are my muses, my subjects and forever my inspiration. 

I mention all of this because several people asked both Valerie and I why we were doing this project. And the answer is quite simple: it was born in this space -- this love of creativity.

We just decided to make art. Art for Art's Sake.

And I mean really: Art combined with dance and photography… it sounds like a dreamy mix, doesn't it?

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My creative collaborator -- my "partner in art" -- for this project is my treasured friend Valerie Madonia, an accomplished dancer in the world of ballet (seriously accomplished -- check out her bio below).

I have known Valerie since our days of living in Telluride and have wanted to photograph her for years. When I first approached her I only knew that I wanted to photograph her, but the details were still murky in my head. I wanted to create striking images that involved her dance background and her graceful presence as an accomplished, poised and beautiful woman. 

Enter the Clyfford Still Museum. My background as an architect made me quick to fall in love with this unique space when it first opened in Denver. Huge abstract artworks on display in a building designed specifically to show this artist's paintings. The museum is impeccably detailed with beautiful proportions, overlapping spaces, strong architectural materials in natural earth tones, and architecturally designed to take advantage of Colorado's consistent natural light to illuminate the artwork.

When I learned we could photograph inside the museum (with special permits), I suspected I’d finally found the location for our first shoot. Valerie and I toured on one of her visits to Denver. We set it up with proper permits and got to work planning our photoshoot, still not altogether clear on an end goal -- other than to make art for the fun of it.


BEFORE I CONTINUE... A FEW WORDS ON ABSTRACT EXPRESSIONISM: If you're not familiar with the roots of abstract art, this genre of art is non-representational. Expand the photos below (from inside the Clyfford Still Museum) to see the evolution from more representational art to abstraction in both Clyfford Still's artwork, and in the larger context of art history.

In these demonstrations (which I photographed at the Clyfford Still Museum), you can see that while elements of abstract art are often derived originally from figures, landscapes and more traditional still life subjects, in their final form the compositions may be openly interpreted by those who experience the art. 

It is this idea of artistic interpretation that most excited me about photographing Valerie in this space.

I anticipated that her breadth of experience as a dancer and choreographer, along with her vision as an artist would all lend themselves to compelling choreographed movement in her reactions to the motion she felt in viewing Still's paintings. My own instincts on this were not wrong...

As I moved around the space with my camera, watching her move, I asked simply, "what do you see?" and directed very minimally, only reacting for compositional or framing purposes. Together we moved through the museum, creating and capturing, from painting to painting. My perspective kept switching from the physical space and relationships between gallery, painting and dancer, to the framed composition within a photograph.

During my years as an architectural photographer, this interplay between three dimensional design and two dimensional photography always excited me, but the opportunity to play with these parameters -- now with a moving dancer -- was creatively satisfying on a whole new level. 

My heart leapt right with Valerie's movements as I watched her improvised choreography transform the artwork before my eyes. Paintings came alive in ways I hadn't previously perceived as she danced with them. Sometimes in quiet contemplation.

Other times it was as if she leapt right into the compositions and became a part of the paintings themselves.

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In this block of creative, "art for art's sake" time we were transported into a world of imagination, color, movement and the beauty of dance. A world of where dance choreography meets improvisation. 

This is a world where three dimensional space can flatten into a framed composition in a celebration of the human body and art -- where photography allows something frozen in time to remain full of life. 

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After finishing this shoot, Valerie and I sat at a coffee shop and scrolled through the collection of images. Exhilarated and filled with satisfaction and inspiration, we realized this would most definitely be the first chapter in a larger dance photography project...

So stay tuned...


ABOUT VALERIE MADONIA (DANCER): Valerie Madonia began her dance training with Maris Battaglia at the American Academy of Ballet in Buffalo, NY and left home at the age of 14 to continued at the National Ballet School of Canada, graduating in 1979. She was a recipient of the prestigious Peter Dwyer Award for Dance Excellence. She danced professionally with the National Ballet of Canada 1979-1981 (under the direction of Alexander Grant), at American Ballet Theatre 1981-1986 (under Mikhail Baryshnikov) and at the Joffrey Ballet 1987- 1997 (under Robert Joffrey and Gerald Arpino).
 
Ms. Madonia began as a member of the corps de ballet eventually establishing herself as a leading ballerina with the Joffrey Ballet. She had the honor of dancing as a company member with Alonzo Kings Lines Ballet, Armitage Gone! Dance, Complexions Dance, Configuration Ballet and as a guest artist with Alaska Dance Theatre, Russian Ballet Theatre, Lemon Sponge Cake Contemporary Ballet, and at Le Gala des Etoiles numerous times in Montreal and Greece. She performed the role of the Princess in Stravinsky's L'Histoire du Soldat at the Santa Fe Chamber Music Festival in 2001 and with the New York Philharmonic in 2005, conducted by Alan Gilbert and accompanied by Pinkus Zuckerman. Madonia appeared in six PBS Dance in America Specials and is featured in four dance books, most prominently in, Classical Ballet Technique, by G.W. Warren. She performed the role of Madge in Colorado Ballet’s 2015 production of La Sylphide and as the Queen in it’s 2017 Swan Lake.
 
Her choreographic credits include the full length Ballets: Cinderella for Louisiana Delta Ballet, The Nutcracker, Polar Express and Appalachian Spring for Telluride Dance Academy and Ames Conservatory,  Shapeshift for Boulder Ballet in addition to new works for the NYC Dance Now Festival, Sunday Salons and Les Patineurs for Colorado Ballet’s Pre -professional Division, Solo works for professional dancers in  Colorado Ballet, YAGP competitions, Ballet West and Dayton Ballet. In 2016 she staged staged Gerald Arpino’s Light Rain Pas de Deux  for Colorado Ballet.

ABOUT JENNIFER (PHOTOGRAPHER): After a ten year career as an architect, Jennifer is currently an Award Winning, Denver based photographer, specializing in actor headshots and high school senior portraits. She is also an accomplished theatre and dance production photographer, having worked with the Colorado Shakespeare Festival, the Denver Center Theatre Company and Denver School of the Arts. She specializes in creating a positive experience and helping clients find their value through photography, fostering a sense of connection in her work, and bringing out personality in her clients while celebrating THEIR work. Her published theatrical photography work has run all around the world, and has appeared in American Theatre Magazine, The New York Times, Playbill.com, Broadway World and the Denver Post, to name a few.

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FINALLY: A special thanks to the wonderful staff and curators at the Clyfford Still Museum for a lovely experience. I highly recommend a visit to this unique museum in the heart of Denver's growing arts district.

Photographers, please note that a photography permit is required in advance to photograph subjects in this space.

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"Art washes away from the soul the dust of everyday life."

- Pablo Picasso

Theatre to Change the World | Hamilton Education Program comes to Denver

I’ve long been a believer that storytelling has the power to change the world, one person at a time. My own life has been shaped repeatedly by stories, inviting curiosity about new things, prompting me to change my own habits with regards to the environment, opening my heart and mind to understand my own blind-spots and to try to be better... more like the heroes of stories that I've admired.

A well told story can ignite a spark of compassion in the darkness of unfamiliarity and/or fear of the unknown. An empathetic narrative can shift a long-held perspective, opening a mind to something previously unimaginable.

"Actors are agents of change. A film, a piece of theater, a piece of music or a book can make a difference. It can change the world." - Alan Rickman

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There’s certainly no shortage of stories of all forms from literature to film to theatre that have done this over the millennia. But, wow... how lucky we are to be alive... right now.

Hamilton, An American Musical is arguably one of the most impactful examples of culturally groundbreaking storytelling of our time (of a lot of times). A narrative told powerfully enough to rewrite the rules of musical theatre to connect with today's audiences and rewrite the rules of diverse representation in historical storytelling all at once.

Even if you haven't seen the show you've probably heard about the intoxicating juxtaposition of a heart-wrenching true story, brilliantly written music, creative narrative elements, unexpectedly disarming humor and extraordinary talent on every corner of the stage. The mash-up of elements is truly unlike anything any of us have ever experienced.

Lin-Manuel Miranda’s decision to cast historical figures as actors of color re-frames our understanding of history and allows today’s young immigrants a chance to see themselves mirrored in the faces, voices and hearts of the founders of our country. To see their ancestors as real life heroes, forging new alliances, loving, trying, failing, problem-solving, fighting, inventing and creating.

Such a simple but profound shift invites ALL of us to see a visual representation of our founders for who they were: a band of “young, scrappy and hungry” immigrants coming together to build something brand new. To aspire, to dream, to fight and to create.

How could that story NOT inspire hope in young people and theatre-goers of today?? In people of all ages really -- just listening to the soundtrack as a story inspired me so deeply that I picked up a copy of the Federalist Papers and read them for the first time at the age of forty-seven. And I speak as someone who strongly disliked history class as a kid! I've become a more informed citizen and increased my personal admiration for and investment in my own democracy.

Because of a theatrical story.

"Great theatre is about challenging how we think and encouraging us to fantasize about a world we aspire to." - Willem Dafoe

All that being said, it's what Lin-Manuel Miranda has done following the extraordinary success of this musical that I find perhaps even more impressive. In collaboration with others, together they have worked in powerful ways to extend the reach of this impactful story far beyond the typical theatre crowd .

Since the show itself connected with audiences in such a profound way and quickly became a phenomenon accompanied by sold out audiences and high priced ticket-scalping (despite Lin-Manuel's explicit desires to avoid this), he wanted a way to reach younger, low income audiences. A way for students to become moved by the story, and, importantly, to see themselves reflected on that stage and spark inspiration in the hearts of young people of all backgrounds. 

In a collaboration with the Rockefeller Foundation, the Gilder Lehrman Institute and others, #EduHam was born.

I first learned of this through a friend in the Broadway cast who shared his passion and perspective on #EduHam through social media. Watching how deeply he was moved by the investment made by students in the material they were studying was profound. So when I was invited to document this program first hand, I jumped at the chance.

The Hamilton Education Program now collaborates with local low income and Title One schools in New York, and for one day in each city that the tour visits. High school juniors start by studying the historical content of the play in their high school classes. In order to more deeply engage students with the material, they then write their own Hamilton-inspired hip-hop and rap poems, songs and skits to perform for each other.

No longer is history stuck in a dry textbook. It comes alive in their hearts and through their own performances. 

Ultimately they compete for a chance to perform their acts live in front of thousands of other high school juniors (and the cast of Hamilton) on the very stage where the magic happens. Their performances are followed by a spirited Q&A with members from the cast. And finally, after soaking in each other’s brave and moving performances, they get to sit back and enjoy a matinee performance of the hottest (and most sold out) show around.

What a thrill it was to document this day for the Gilder Lehrman Institute when the Hamilton Education Program came to Denver.

The students’ performances were brave, thoughtful, intimate, raw, and ranged in tone from funny to profound to deeply moving (I've got a link below where you can watch them for yourself on the Denver Center blog). I could feel their connection and commitment to the historical material, and how perfectly each of them met the moment of our present day issues with their own material.

"The theatre is a spiritual and social x-ray of it's time." - Stella Adler

What a privilege it was to then sit in the audience for a matinee performance of Hamilton with this group of nearly 3,000 high school juniors, many of whom had never been to the theatre. The show brought me to tears (if you've seen it, you know!), but just as moving during this particular performance was the visceral feeling in the theater of their reactions to the story as they invested their hearts and engaged, often audibly, with the unfolding twists and turns of the story.

At the end of the day, who else could get nearly three thousand high school juniors to cheer during a debate in a cabinet meeting about the structure of state debt?

Only Lin-Manuel Miranda.


To learn more about the Hamilton Education Program please visit:

On the evolution and origin of this program: Gilder Lehrman Institute and Hamilton Education Program

To view a great video about the program: PBS segment about the Hamilton Education Program

To see the student performances from the Denver tour, please visit the Denver Center’s post featuring videos.

Also check out the Hamilton App for lottery tickets, and weekly inspiration from the cast & show


ABOUT THE PHOTOGRAPHER: Jennifer Koskinen is an internationally published theatre, dance and stage production photographer based in Denver Colorado. She is the production photographer for the Colorado Shakespeare Festival after having photographed multiple seasons for the Denver Center for Performing Arts Theatre Company. She has also volunteered with the Denver School of the Arts Theatre Department, capturing actor headshots and staged productions for the past 6 years. Her photos have appeared in around the world, and in publications such as the New York Times, Playbill, American Theatre Magazine, The Denver Post, and Broadway World, to name just a few.

Art for Heart's Sake

Today, I got to make ART.

For the sake of art. In the spirit of collaboration and creativity.

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Even better, I got to make art ... in a museum ... with a treasured co-conspirator in the arts.

My muse was my gorgeous, extraordinarily talented friend Valerie. A life-long dancer with unparalleled grace in her movement through life. Someone who shares the calling to create art with her life's work... and sometimes purely for the sake of art.

We got to make art that was inspired by art. Giant, abstract expressionist art came to life in a whole new way before us as Valerie danced.

We made art inspired by the “life-lines” that run vertically through so many of Clyfford Still’s vibrant paintings. Inspired by the movement we found in his colorful canvases and the sumptuous light in this special space, a museum designed specifically to house this one artist’s prolific body of work.

Downloading the photos tonight brought me intense happiness (I may or may not have shed a tear) -- watching what we had created come to life image by image on my monitor. What a liberating experience it is to create art for the sake of seeing, for capturing a moment, feeling depth of color and composition with no agenda outside of discovery, and possibly a desire to share (if anything ends up being worth sharing). The act of sharing would be like icing on the cake. For what it’s worth, after today, I'm so excited to share what we found in there that I'm here with a sneak peek, something I hardly EVER do.

 SNEAK PEEK: this is a low quality iphone photo of my monitor, highlighting a few unedited images as they downloaded from my camera tonight. Final Images are yet to come... watch this space!

SNEAK PEEK: this is a low quality iphone photo of my monitor, highlighting a few unedited images as they downloaded from my camera tonight. Final Images are yet to come... watch this space!

My heart is full. And I'm left with a strong emotion that, especially given the uncertainty and unrest in the world, we all need to remind each other to make moments for those things which make our hearts full. Discovery, creativity, adventure, love.

Thank you, Valerie, for your beautiful heart, for your life’s art, and for coming to Denver to share this crazy idea with me. And for letting me collaborate with your dance today. I can’t wait to share the final photographs!

Actor Headshots | Make the Most of Your Photo Session!

As a lifelong theatre lover, stage production photographer and mother of an actor heading for his BFA, I have an intense admiration for your work, and the highest possible respect for your talent and art.

 above: natural light actor headshots photographed on location in urban settings in Denver, except for upper right which was photographed in my natural light studio

above: natural light actor headshots photographed on location in urban settings in Denver, except for upper right which was photographed in my natural light studio

And I get it: getting photographed as an actor when you’re not… acting… is not your favorite thing.

SO... if you're nervous about this, please keep in mind that 1) you’re not alone in this feeling, and 2) I’ve got your back. My job will be to help you relax and have fun with the process. I’ve been told often by many clients that this is my superpower.

But there are a few things you can do before the session to increase the odds that you arrive at least feeling prepared.

Think of getting ready for your headshot session like you would prepare to arrive at an audition: rested, hydrated, on time and dressed for the part you want.

PREPARING YOUR WARDROBE:

  1. Bring 3-4 different looks for and actor headshot session (4-6 looks if you booked an extended photo session). Even if your end goal is just two photos  (one commercial and one dramatic) it’s best to have options. Please don’t bring your whole wardrobe as we'll end up using up shooting time trying to sort through your clothes.

  2. Bring a variety of necklines and fabric textures. Simple tops are best, and keep wardrobe options in line with your brand.

  3. Clothes that fit close to your body are more flattering in photos (no matter your body type, I can pose you in more flattering ways if your clothing is not baggy or boxy).

  4. Bring colors that compliment your skin tones, and generally avoid black or pure white -- colors that compliment and bring out your eyes, skin tone or hair are best.

  5. Avoid flashy and busy patterns that will distract from YOU. The main focus of these photos should be your eyes and the connection we feel with your personality.

  6. Jackets and uncomplicated layers can create variety without stopping for full changes.

  7. If you can wear a light tank under tops, it allows for quick changes outdoors and therefore more photography time.

  8. Jewelry is likely to distract from you, so unless it’s a vital part of your brand (and you're confident it will stay that way until your next headshot session), skip it.

  9. TRY ON your wardrobe items before you bring them. If you’re only doing headshots, there’s no need to worry about pants (I mean, you’ll need to WEAR pants to the session, of course). Check that items still fit well. Hopefully this will remind you to pack outfit specific undergarments (i.e. avoid striped undershirts/black bras under light shirts, etc.).

  10. Launder, press, de-lint as needed.

  11. NOTE for actors and models who have AGENCY REPRESENTATION: talk with your agent beforehand if he/she wants input regarding wardrobe and styling!

MORE ACTOR HEADSHOT PREPARATION TIPS:

  1. After selecting your wardrobe, PACK it in a way that it is portable and can comfortably sit on a sidewalk while we are taking photos. A small duffel bag or rolling suitcase is ideal.

  2. Make sure you stay hydrated and get plenty of rest. This will help keep your skin clear and eyes bright. Don’t stress if you wake up with blemishes the day of your session (and don’t mess with them as that generally makes them worse -- let photoshop do the magic there!)

  3. Exercise the week prior (if that’s your thing), but there’s no need to delay a headshot session just so you can “lose a few pounds.” You’d be amazed what good posing can do to flatter every and any body! Light exercise before your session can add a healthy glow to your skin.

  4. Eyebrows / Nails / Hair / Lips / Facial Hair: Clean up, pluck and trim as necessary. You want to arrive at your audition looking essentially like your headshot for it to be the most effective tool for casting directors to connect your headshot to your audition. Please DO NOT try out a brand new haircut/style in the few days before your session (take it from many clients who have learned this lesson the hard way)! Wear hair & makeup how you normally would, just be sure to refresh right before our session and bring anything necessary for touch-ups just in case. Even if you don't wear makeup, mascara and lip tint or at least gloss is great to highlight your features but still look natural. Men: remember some lip balm or chapstick… it’s Colorado. 

  5. It is not your job to be photogenic, it is my job to make you feel empowered to draw out your personality while you connect with the camera. You can relax knowing that I will direct you into your most flattering poses (this is critically important since you can’t see yourself, after all). I’ll give you posing tips to take with you, and YES, I’ll show you photos as we go (not all photographers do this). My clients love to see what we are getting and discuss any necessary modifications we want to make as we work together.

  6. IMPORTANT: Please arrive on time! Familiarize yourself with directions to our meeting place and leave time to negotiate traffic and parking. Session times are designed around flattering LIGHT. Nothing worse than arriving frazzled, except also having to race against the sun.

  7. If you have done your prep-work, the only thing left is to show up! We’ll chat about your wardrobe for a few minutes when you first arrive, and then you’ll have time to relax into the session. Ideally you’ll have a great experience while we produce fantastic headshots to land you in front of your dream casting director.

 

To learn more about my personal approach to studio and/or on location actor, model and professional headshots (for men, women and kids), and to explore investment options, please check out my PORTFOLIO. And if you’d like to read my most popular blog post to date, check out my INTERVIEW with Denver Casting Director Sylvia Gregory and discover in depth what she’s looking for in an actor headshot.

 

Final thoughts if you’ve reached this post and are still shopping to hire a professional:

Be sure you are working with a photographer who specializes in ACTOR Headshots (very different from portraits or professional corporate headshots). Spend time looking at a photographer’s work -- do you resonate with the photos in her/his portfolio? Are the eyes the main focus of the photos? Do you feel personality and connection in the subjects? Is the lighting flattering? Do the photos make the actors look approachable, interesting, engaged and professional? Are the backgrounds distracting? Also important: do you feel comfortable communicating with your photographer? Is he or she willing to talk with you on the phone if you have questions? Your comfort level the day of your session is critical to getting great connection in your photos.

View more of my work at this link:

Troilus & Cressida | A Photographer's Appreciation of Staging for Theatre

I don’t typically create blog posts about photographing individual stage productions.

I’ve already written at length about how much I love photographing live theatre, and you'd be bored by now if I waxed poetic about how VERY much I love it after every show. There’s a whole world of arts critics and journalists whose job it is to write about the performances themselves -- the production quality, acting, direction, design, etc.

But really, everyone who knows me is aware that I’m -- how shall I say? -- easy to entertain and genuinely quick to love, so my effusive praise of a particular show, heart-felt as it may be, admittedly probably doesn’t carry a lot of weight.

All that being said... I was so moved by the aesthetic experience and technical challenges of photographing this particular production of this lesser known Shakespearean play that I felt inspired to share a few “photographer perspective” thoughts (and photos) from this production; this extraordinarily beautiful, intriguing and -- at least judging by this particular iteration -- perhaps too little produced play.

My first experience photographing Carolyn Howarth’s work was last season at Colorado Shakespeare Festival, when she directed HENRY V on the indoor stage at the University Theatre. Everything about that production was spectacular -- for me as a photographer AND to experience without a camera (and I say this having attended several times throughout the run, including closing night when I almost cried because I still wanted to go see it again… but I digress… )

Photographing a director’s work multiple times gives me a chance to learn how to “dance” with a director’s blocking. It allows me to move through space in anticipation of where actors will be to create the best photographic compositions. Carolyn’s work was so beautifully staged for Henry that I was giddy to see what she would do with the outdoor Mary Rippon stage on the campus of University of Colorado, Boulder.

And let me tell you…  this entire team of designers spectacularly delivered on a vision which somehow was at once both distopic and stunningly, viscerally beautiful.

The opening scene of TROILUS AND CRESSIDA immediately thrusts the audience into a visual (and acoustic) landscape of overwhelmingly powerful beauty. Symmetry of design, of stage direction and blocking, of light, and even somehow of sound -- which is difficult to capture in a photo, but somehow, it was so powerful that I actually hear the beating of Benaiah Anderson’s incredibly crafted swords and shields when I see the opening photos.

 The outdoor setting of the Mary Rippon Theatre provides a spectacular backdrop for the set design that changes throughout the evening. Wide photo of  Troilus & Cressida  at Colorado Shakespeare Festival, photographed by Gabe Koskinen for Merritt Portrait Studio

The outdoor setting of the Mary Rippon Theatre provides a spectacular backdrop for the set design that changes throughout the evening. Wide photo of Troilus & Cressida at Colorado Shakespeare Festival, photographed by Gabe Koskinen for Merritt Portrait Studio

Howarth’s stage aesthetic is simply divine. Her blocking of the actors -- how they move through and inhabit different parts of the outdoor stage -- so perfectly complements the depth of the incredible set design, the colors of the wardrobe, and the dramatic and compelling lighting design, that even for those who may not follow every twist of Shakespeare's story, there is always something beautiful, sexy and dramatic to absorb for eyes and ears.

How the wardrobe -- the colors of the designs of each scene as a whole worked so that everyone on stage at a given time complemented each other as an ensemble... I mean, just look at the palette of costumes and how they work together in this scene (the last set of photos above). It nearly took my breath away, even where the colors on each actor stood on the stage!

And yes, it IS my job while shooting a production to become almost “lost” in the visual. To celebrate the composition, color and light… but it is also my goal to capture the connection I see in actor’s eyes, with each other and to their character. The most satisfying productions to photograph are those which provide all of these things in concert with each other. When that happens, my job honestly feels like playing...

...until the light design becomes so brilliantly in line with the story that it envelopes the audience in near darkness as the stage fighting intensifies... and the photographer who wants to capture it all freaks out.

Luckily I had scouted this show the night before, so I knew this was coming, but still -- to capture the combination of extreme low light and extreme fast motion -- it pushes even the best photographer and equipment to the limits of what is possible. Even with a super high ISO and the widest aperture my lens could shoot, this is still a nearly impossible combination to capture, but I pushed myself and my equipment, tried a few new things and was actually able to capture more than I thought would be possible. Though I must say still… you really need to SEE these scenes to get a sense of how incredible they are. Geoffrey Kent’s stage fight choreography and his movement onstage during these scenes is jaw-droppingly good.

I'll add a few more photos of ending scenes AFTER the show closes so as not to give away any dramatic and incredibly aesthetically powerful spoilers...

The artful storytelling of this lesser known Shakespearean work, which contains both comedy and tragedy, in the hands of these incredibly talented actors is not to be missed!

CREDITS:

Direction by Carolyn Howarth | Scenic Design: Caitlin Ayer | Lighting Design: Shannon McKinney | Costume Design: Hugh Hanson | Sound Design: Jason Ducat | Fight Director: Geoffrey Kent | Photos: Jennifer Koskinen + Gabriel Koskinen for Merritt Portrait Studio

CAST: Christopher Joel Onken, Howard Swain, Lilli Hokama, Carolyn Holding, Naomy Ambroise, Kristofer Buxton, Kelsey Didion, Sam Sandoe, Mare Trevathan, Zach Stolz, Austin Terrell, Sean Scrutchins, Geoffrey Kent, Spencer Althoff, Coleman Zeigen, Steven Cole Hughes, Emelie O'Hara, Jihad Milhem, Benaiah Anderson, Lindsay Kyler, Coleman Zeigen, Jesse Wardak, Paige Olson

TROILUS AND CRESSIDA, by William Shakespeare has 8 remaining performances at the Colorado Shakespeare Festival through August 6, 2016. VISIT: CSF for tickets!

And a final sequence to appreciate, from my son's wide angle photos, how spectacular it is to feel twilight stretch into night, watching theatre under the stars on a summer night in Colorado is an experience everyone should have. How the trees surrounding the theatre space are included in the lighting and set design -- just breathtaking!