The Look of Unbound

Meet the artists in charge of Unbound’s lighting design, scenic design, and image technology

Dores André and Wei Wang in Justin Peck's Hurry Up, We're Dreaming // © Erik Tomasson

Image Technology for Alonzo King’s The Collective Agreement

Jim Campbell is a San Francisco-based light artist, known for his innovative installations. Born in Chicago, Campbell earned degrees in electrical engineering and mathematics from the Massachusetts Institute of Technology. His work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Smithsonian American Art Museum, The Whitney Museum of American Art, and the San Francisco Museum of Modern Art. As an engineer he holds more than a dozen patents in the field of video image processing. His “Day for Night” will be a permanent LED exhibit at the top of the new Salesforce Tower in San Francisco.

SF Ballet in Alonzo King's The Collective Agreement with image technology by Jim Campbell // © Erik Tomasson


Lighting Designer for all 12 of the Unbound world premieres

James F. Ingalls designs lighting for dance, theater, opera, and symphony concerts. He is a Department of Dramatic Arts graduate of The University of Connecticut and studied at the Yale School of Drama. His designs for SF Ballet include Don Quixote, Onegin, Sylvia, Nutcracker, Helgi Tomasson’s Silver Ladders, and the 2008 New Works Festival. Ingalls’ work is seen in the repertories of American Ballet Theatre, Boston Ballet, Dutch National Ballet, Mark Morris Dance Group, The National Ballet of Canada, and Pacific Northwest Ballet. Recent designs include Concertiana, Half Life, and The Beauty of Grey for Paul Taylor’s American Modern Dance and The Nutcracker for Miami City Ballet. His work in opera and theater with director Peter Sellars spans 37 years. Ingalls often collaborates with The Wooden Floor dancers in Santa Ana, California.

SF Ballet in Justin Peck’s Hurry Up, We’re Dreaming with lighting design by James F. Ingalls // © Erik Tomasson 


Scenic and Costume Designer for Cathy Marston’s Snowblind

Patrick Kinmonth is an artistic polymath. He has worked diversely as an opera director, painter, stage and costume designer, and as a film director, writer, architectural designer, editor, and exhibition curator. Kinmonth studied literature at Oxford before becoming art editor of British Vogue. His contact with ballet began In 1993, when his paintings were adapted for David Bintley’s Tombeaux at Covent Garden. He has since designed or directed more than 45 opera and ballet productions all over the world, collaborating extensively with choreographers Fernando Melo, Pontus Lidberg, and Cathy Marston on the form, structure, light, and libretti of the works he designs.

SF Ballet in Cathy Marston's Snowblind with scenic design by Patrick Kinmonth // © Erik Tomasson


Scenic Designer for Myles Thatcher’s Otherness, Edwaard Liang’s The Infinite Ocean, and Dwight Rhoden’s LET’S BEGIN AT THE END

Alexander Nichols designs lighting, scenery, costumes, and projections for theater, opera, music, and dance. His designs for San Francisco Ballet include Death of a Moth, Later, Thread, RAkU, Trio, Francesca da Rimini, Swimmer, and Ghost in the Machine. Nichols has been resident lighting designer for Pennsylvania Ballet, Hartford Ballet, and American Repertory Ballet and lighting supervisor for American Ballet Theatre. His Broadway credits include Hugh Jackman: Back on Broadway, Nice Work If You Can Get It, and Carrie Fisher’s Wishful Drinking. He has received a San Francisco Certificate of Honor, four Isadora Duncan Awards, four Bay Area Critics Circle Awards, and three Dean Goodman Awards.

SF Ballet in Myles Thatcher’s Otherness with scenic design by Alexander V. Nichols // © Erik Tomasson


Scenic Designer for David Dawson’s Anima Animus

John Otto is a scenic designer working in opera, theater, and dance. Born in New Zealand, he studied industrial design and graduated from the celebrated Motley Design Course in London under Margaret Harris. He made his design debut with the opera Les Malheurs d’Orphée for the Netherlands Opera and has since designed productions across Europe and North America. Otto has collaborated extensively with David Dawson, designing works for Semperoper Ballet Dresden, Royal Ballet of Flanders, Norwegian National Ballet, Scottish Ballet, and Dutch National Ballet.

SF Ballet in David Dawson’s Anima Animus with scenic design by John Otto // © Erik Tomasson


Scenic and Costume Designer for Christopher Wheeldon’s Bound To

Jean-Marc Puissant is an award-winning set and costume designer working internationally in theater, musicals, opera, and dance. He completed the Motley Theatre Design Course in London and studied art history at La Sorbonne in Paris. Nominated as Best Scenographer at the 2016 Benois de la Danse, he has designed for several productions that have won Laurence Olivier, South Bank Show, and National Dance Awards. Previously a dancer, Puissant graduated from Paris Opera Ballet School before dancing with Birmingham Royal Ballet and Stuttgart Ballet. Puissant is a 2018 Fellow at New York University’s Center for Ballet and the Arts.

SF Ballet in Christopher Wheeldon’s Bound To with scenic design by Jean-Marc Puissant // © Erik Tomasson