Lighting Designer Philip Rosenberg The Flamingo Kid May 9 – June 9 Book & Lyrics by Robert L. Freedman Music by Scott Frankel Choreography by Denis Jones Directed by Darko Tresnjak Learn More & Buy Tix Past Issues Jeeves & Wooster in “Perfect Nonsense” Detroit ’67 The Engagement Party A Christmas Carol Henry V Make Believe A Lesson from Aloes The Age of Innocence Murder on the Orient Express Feeding the Dragon A Christmas Carol (2017) Seder A Midsummer Night’s Dream Our Great Tchaikovsky Heartbreak House The Absolute Brightness of Leonard Pelkey Cloud 9 The Comedy of Errors A Christmas Carol The Piano Lesson Queens for a Year Anastasia Having Our Say Romeo & Juliet The Body of an American A Christmas Carol (2015) Rear Window An Opening in Time Kiss Me, Kate The Pianist of Willesden Lane Reverberation Private Lives A Christmas Carol (2014) Hamlet Ether Dome Meet Philip Rosenberg, Lighting Designer for The Flamingo Kid By Yan Chen, Artistic Apprentice Philip, you’re no stranger to Hartford Stage, having designed the lighting for Jeeves and Wooster in “Perfect Nonsense,” Kiss Me, Kate, Abundance, and the Hartford and Broadway productions of A Gentleman’s Guide to Love and Murder and its national tour. What is it like for you to design in a space that you know as well as you do Hartford Stage? It’s always nice to come back to a theatre that you’ve worked in before. Not only because you have a solid understanding of the physical space and the equipment, but also because you’re reunited with a tremendous staff that helps you realize your design. Hartford Stage has one of the best Lighting Departments in the country, and I’m always thrilled to be teamed up with this bunch to help get this show off the ground. The cast of the Hartford Stage production of ‘A Gentleman’s Guide to Love and Murder.’ Photo by T. Charles Erickson. How did you decide on lighting design as your career? My grandfather was a huge theatre fan and introduced me to it at a very early age. I was always very interested in the backstage elements—and that passion just grew as I got older. It took a fair amount of time through junior high and high school for me to fully understand that you could make a career out of lighting shows; but on my first day of college, I enrolled in the Theatre department—specifically for lighting—and I was off! What is it like to collaborate with other designers when you’re working on a show? I find that I’m a very reactive designer, so I often allow my fellow collaborators to take the lead. I will then follow up to augment and complement their designs. Could you share one of your favorite memories or experiences from your career so far? I think my most fond memory of my career was being part of the team that helped A Gentleman’s Guide to Love and Murder win the Tony Award for Best Musical. It was magical seeing the show shine that night, and the party was unforgettable!