In a few words...
Originally from Henrietta, New York, a mid-sized town in
upstate New York, I attended Rush-Henrietta Senior High School where I was a
part of the music and drama programs. I lit my first piece – a choral rendition
of Wild Wild West – in the spring of 2000, during the high school Spring
Concert Series. I still remember that performance.
Who knew that would be the beginning of my career.
I enjoy telling stories. I always have an opinion about
light. Sometimes, when I read a play or listen to a soundtrack,
vivid ideas about the environment come to mind.
I’m lucky I get to put these things together, often to be presented 8
times a week
in New York City, across the country, and around the world.
Who knew that would be the beginning of my career.
I enjoy telling stories. I always have an opinion about light. Sometimes, when I read a play or listen to a soundtrack, vivid ideas about the environment come to mind.
I’m lucky I get to put these things together, often to be presented 8 times a week
in New York City, across the country, and around the world.
• RESUME • CV •
• • • • •
ABOUT
Alan C. Edwards is a lighting designer for live performance whose work includes the world premieres of Kill Move Paradise (National Black Theatre, Drama Desk nomination), The
Hot Wing King by Katori Hall (Signature NYC), and Sally & Tom by Suzan-Lori Parks (The Guthrie and The Public). Other New York, Regional, and International work includes: Anna
Deavere Smith’s Twilight: Los Angeles 1992, and Fires in the Mirror (Signature NYC); Twelfth Night, Seize The King, A Midsummer Night’s Dream, and Memnon (Classical Theatre of Harlem); Bluebird Memories featuring rap-artist Common (Audible Theatre); Syncing Ink (@
The Apollo); Baldwin and Buckley at Cambridge by Greig Sargeant and Elevator Repair Service (The Public); Beautiful-The Carol King Musical (Asolo Rep); and new musical Calling Us Home (Shy Music – South Africa). His work in dance includes: Where We Dwell and Chasing Magic by renowned tap-dancer Ayodele Casel; In The Same Tongue by Dianne McIntyre; and Lifted, created and choreographed by Christopher Rudd for American Ballet Theatre.
In 2017, he designed the world premiere of Harry Clarke at the Vineyard Theatre, which garnered that season’s Lucille Lortel Award for Outstanding Lighting Design. After remounting the production in 2023 at Berkely Rep, the show transferred to London’s West End where it played to rave reviews.
In 2024, Alan had the honor of designing the world premiere of Gatsby: An American Myth at the American Repertory Theatre, directed by Rachel Chavkin. The highly-anticipated, sold-out run, which garnered critical and popular success, was nominated for—among others– all Elliot Norton design, direction and choreography honors, receiving the awards for Outstanding Scenic and Lighting Design.
Among many repeat collaborations, he has particularly enjoyed projects with Carl Cofield, Rachel Chavkin, Steve Broadnax III, Peter Flynn, and Tamilla Woodard. Alan is a graduate of the Yale School of Drama where he is also an assistant professor of lighting design.
In 2017, he designed the world premiere of Harry Clarke at the Vineyard Theatre, which garnered that season’s Lucille Lortel Award for Outstanding Lighting Design. After remounting the production in 2023 at Berkely Rep, the show transferred to London’s West End where it played to rave reviews.
In 2024, Alan had the honor of designing the world premiere of Gatsby: An American Myth at the American Repertory Theatre, directed by Rachel Chavkin. The highly-anticipated, sold-out run, which garnered critical and popular success, was nominated for—among others– all Elliot Norton design, direction and choreography honors, receiving the awards for Outstanding Scenic and Lighting Design.
Among many repeat collaborations, he has particularly enjoyed projects with Carl Cofield, Rachel Chavkin, Steve Broadnax III, Peter Flynn, and Tamilla Woodard. Alan is a graduate of the Yale School of Drama where he is also an assistant professor of lighting design.