Rebecca Bartle is a lighting designer with experience designing lights for over 30 productions at Bob Jones University, various theaters, and as a freelancer in Chicago. Her designs utilize techniques like gobos, LEDs, fog, and snow machines to enhance productions. She strives to use lighting creatively to set moods and advance plots while overcoming technical challenges posed by different performance spaces.

1. Bartle
Artistic
Lighting
Designer
Rebecca

2. Education
Bob Jones University Greenville SC
· Bachelors of Communications in Dramatic Productions May 2013
v Costume, Scene, Light Design
v Playwriting
v Stage Directing
Technical Productions Experience
Bob Jones University Greenville, SC Fall and Spring 2010-2013
· Designed lights for Our Town, Hound of Baskervilles, Ruthie,
· Designed sound for The Lion, the Witch, and the Wardrobe
· Programmed light board for Christmas Carol
· Worked on shows such as Winslow Boys, Beauty and the Beast, It’s a Wonderful Life
· Directed The Miracle Worker
· Assisted the Directors for The Winter’s Tale
Chicago Area Free lancing
· Stage Managed Florescence in the Junk
Overshadowed Theatrical Productions
· Technical Director for Release
· Lighting Designer for Annie,, It’s a Wonderful Life, Arsenic and Old Lace ,Little Mermaid,
Fiddler on the Roof, The Hiding Place, Oliver, Les Miserable, Into the Woods
· Directed Pinocchio
Way Off Broadway
· Managed A Don’t Hug Me Christmas
· Operated the light board for Annie the Musical, South Pacific
· Hung and programmed lights for Annie the Musical, Joseph the Amazing Technical
Color Dream Coat, South Pacific, Snoopy the Musical, Banjo Boy
· Assistant Stage Manager for Snoopy the Musical
Related Work Experience
ILC Arlington Heights September 2013 - November 2013
· Maintained LEDs and lighting equipment
· Checked in and out rental equipment

3. Annie
As the show starts
it is a cold dark or-
phanage that An-
nie small bright
light of hope
shines on and as
the play continues
the lighting gets
brighter and the
colors more happy
as her light shines
to the world.

4. Sherlock Holmes: Hound
of Baskervilles
There were three main
set pieces the window,
door, and fireplace. The
set was inside. So it was
challenge to show the
night and creepiness of
the hound. This was
done on a grid lighting
system.

5. Dreamweaver
This performance was set around a “bon
fire.” I created a backwash with LEDs to rep-
resent the progression of the story. The fire in
middle started out strong and fierce but as
the flames dwindled so did the light on the
fire.

6. The Hiding Place
The Hiding Place is set
during WWII. There was
no color in this show,
so I used gobos to cre-
ate the effect of bars
and barbed wire hold-
ing its Prisoners.

7. You’re a Good
Man, Charlie
Brown
My design idea for this show was the
lighting playing and moving with the
“kids”. I used a red baron gobo which
chased Snoopy around on stage. The
LEDs were programmed to go beat to
beat with the music. When Charlie
Brown Kit flew the lights followed.

8. Oliver
I designed this show in a
few hours and made it
come to life in 24 hours.
The director wanted to
show the reality of Oliver
world and the darkness
that surrounded him, but
also the reality of life that
came from the charac-
ters he met.

9. Arsenic and
Old Lace
The set is the house of the sisters, I
set LEDs behind the window to
show the time of day as the story
unfolds. The morning and day
lighting had more green and the
night lighting was a darker and
had the shadows of the trees.

10. It’s a
Wonderful Life
My design was a fun
colorful show with a
moon gobo, which
was my proud and
joy. I also, created a
water effect for the
pool so as the pool
opens this water
starts to come out
and at the end be-
fore the blackout it
looks like George
and Mary are
“falling” into the wa-
ter.

11. Release
This was a black box style, so the di-
rector wanted the technical aspects
to shine. I designed a hexagon pro-
jection and also had a small square
one.
The lighting was simple
and showed the darkness
that surrounded the main
character till he was
“released” from his past.
The sound design was a
major component in this
show. The sound effects
gave clues to the audi-
ence where they were
going next.

12. Into the Woods, Jr.
The lighting was whimsi-
cal but also gloomy as
they face the trials in the
woods. The biggest chal-
lenge in this close knit
theatre space was the
transformation of the
witch. I used a fog ma-
chine to mask her trans-
formation.

13. Les Miserables
The lighting design was more realistic
with a edge of abstract for Javert and
Jean Val Jean death.
I used a bar gobo at the end of Javert
death that became visible towards the
end of his monologue with a red LED.
The set design, was very simple, but I
did build a wall on the top that actu-
ally explode during the fall of the bar-
ricade.

14. Wizard of Oz
The World of Oz came to life with lots of LEDS, gobos, fog, and a snow machine.
The Wicked Witch of the West, was a fun challenge to make appear on part of
the stage then come up on the other side. Fog is a best friend.

15. Kaitlyn’s Recital: A Good Man is
Hard to Find
This was a one woman show, the only set pieces were the chairs and the piano. I had one LED aimed right
on top of the piano to play with the different colors in the piano. Then as the people were killed in the
show, I had red LEDs come on and a light on each of the chairs to represent their deaths.