|
|
|
|
|||
|
|
|
|
|
||
She’s Lighting Stages from Oberlin to Broadway
Natasha Katz
JUNE 13, 2000--It would probably be a while before Natasha Katz came up for a Tony, predicted the critic for the Dallas Morning News in 1988, during the lighting designer's stint at the Dallas Theater Center. As the critic pointed out, "For the tech awards, it often takes more than just superb work; it takes connections and reputation."
Today Katz, Class of 1981, has connections, reputation--and the Tony. On June 4 she received the theater's highest accolade for lighting design--for Elton John and Tim Rice's hit musical AIDA. To her two previous Tony nominations (for Twelfth Night and Beauty and the Beast) she can now add the award itself.
The Antoinette Perry (Tony) Awards--one of theater's most coveted awards--are presented annually for distinguished achievement in the professional theater by the American Theatre Wing and the League of American Theatres and Producers.
Since her time at Oberlin, Katz has worked extensively in the world of Broadway, opera, and ballet. Well before she was into her 30s, her credits included Pack of Lies on Broadway; The Normal Heart, then the longest-running drama at the New York Shakespeare Festival; and the off-Broadway Oil City Symphony.
Bill Byrnes is not surprised.
"Natasha took a lighting class from me in the '70s," recalls Oberlin's former theater-faculty member, now at Florida State University. "She fell in love with lighting and did a Winter Term in New York City with Roger Morgan, a Broadway lighting designer and theatre-design consultant." Katz worked with Morgan on I Remember Mama, and with him again on Agnes of God.
In February 1988 Katz returned to Oberlin do the lighting for Major Barbara while Byrnes was on leave.
"Since leaving she's done tons of shows," says Byrnes.
That's an understatement. While assisting Morgan on Agnes of God, she met set-designer Eugene Lee, who invited her to Dallas to work on Amadeus and Misalliance. She followed those assignments with The Scarlet Pimpernel, Barrymore, Gypsy, My Fair Lady, Someone Who'll Watch Over Me, Aren't We All?, and Shogun--all on Broadway--besides the Broadway and Washington, D.C., productions of Breaking The Code.
The Manhattan-based artist designed Die Soldaten at New York City Opera, two productions of Norma for Joan Sutherland, Don Quixote for American Ballet Theatre, and concert acts for Shirley MacLaine, Ann-Margaret and Tommy Tune, and the HBO television specials Mambo Mouth and Spic-o-Rama as well as extensive productions Off-Broadway and for American regional theatres--plus EFX! at the MGM Grand Hotel and lighting installations at Niketown New York and London.
Katz took on Greg Cohen '90 as an assistant in the early '90s, Byrnes notes. Cohen, also a lighting director, is still in New York.
Another Oberlin name popped up at the Tony award ceremony, evoking much laughter.
"Hello, possums," cooed Dame Edna Everage, the sequin-bedecked drag star of Dame Edna: The Royal Tour, upon receiving a special award. "No. I'm not a Julie Taymor puppet."
Taymor, Class of 1974, received two Tonys in 1997 (for directing and costumes) for Lion King: The Musical.
Please send comments, questions, and suggestions about Oberlin Online news and feature articles to online.news@oberlin.edu.
