Jason Thompson
I grew up in the small town of Allegan, Michigan performing on stage for the local Community Players and in the High School plays and musicals. Eugene Morris Jerome, Nathan Detroit, and Charlie Brown were my first introductions into Theatre. A woman named Sue Buese taught me to love theatre.
Upon graduation, I went to Michigan State University where my focus shifted to Stage Management and soon after Lighting Design. I worked on as many productions as possible, lighting everything I could get my hands on. My mentor there, Stan Jensen, guided me to light three of the mainstage productions before I left undergrad. It was my first exposure to texture and technique.
Upon graduation, I drove across the country to the University of California at San Diego to be taught by my next mentor, Chris Parry. Chris fostered my need to experiment and bend the rules, but he taught me about execution and the foundation of lighting design. He introduced me to other designers who still inspire and mentor me. Howell Binkley, Jim Ingalls, Robert Wierzel all had a huge impact on my life as a young designer, and I learned so much just by watching them work.
I began studying video at the end of graduate school, and upon leaving it was Howell Binkley who introduced me to the Projection Designer Michael Clark. I worked as Michael’s assistant on many shows including: Dracula the Musical on Broadway and Jersey Boys. He taught me about setting up complex systems, the importance of workflow, and how to be fast in tech.
Eventually, I designed my very first show. It was a small show in the Lillian Theatre in Los Angeles, and we convinced the Globe Theatre in San Diego to rent us this giant 7K projector and La Jolla Playhouse and a Watchout system. I’ve been working as a freelance designer ever since, focusing on Projection Design while continuing to pursue Lighting Design as well. After several years of designing in theatres of all sizes, I met my dear friend Yuval Sharon.
Working with Yuval Sharon felt like a huge shift in my design career. I was designing for new experimental operas as well as visiting some of the classics with Yuval’s fresh and exciting concepts. Working on projects like Cage Songbooks, Invisible Cities, Hopscotch, Trip to the Moon, and Lost Highway, and eventually working with my wife Kaitlyn Pietras, forming PXT Studio, so we could create work bigger and bolder than either one of us alone. Designing for opera really teaches you about the importance of simple strong choices and the impact they can have.
I’ve taught classes at USC, UCLA, and Cal Arts, trying to pass along the wisdom and insights my mentors so generously gave to me.
Hopscotch
Trailer for Hopscotch produced by The Industry.
Except from Hopscotch Chapter 26 “Hades”. Rebekah Barton as Lucha stands in the back of a Jeep singing on the way to the main site for the chapter. Filmed by Jason H. Thompson.
Except of Hopscotch Chapter 2 “Crash”. Lucha crashes into Jameson’s motorcycle and they meet for the first time. Jason Winfield as Jameson, Jane Stephens Rosenthal as Lucha, Phillip King playing in the background. Filmed by Jason H. Thompson via Livestream from a Samsung Galaxy S6.
Hopscotch Chapter 6 “Jameson Portrait” limo passes through the 2nd Street tunnel with a Projection of Jameson. A 6500 lumen laser projector is mounted to the roof of the limo. Filmed by Yuval Sharon.
Hopscotch All Live Chapters playing at once. Video Filmed by Jason H. Thompson.
Laura Bohn and Sharon Kim play Lucha in this Chapter where the search for lost Jameson rips Lucha in two. Filmed by Jason H. Thompson via Livestream from a Samsung Galaxy S6.
Pelleas et Mellisande
Scenes from Lou Harrison’s Young Caesar at the LA Phil where a young Julius Caesar travels to see King Nicomedes for help and falls in love.
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