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Richard Bryant: Light Up the Air.

source: Richard Bryant

Some artists are drawn to the spotlight, but Richard Bryant learned to paint with it. His journey began in a Chicago opera house where a single set change in La Bohème transformed a quiet fascination into a lifelong calling. That instant, when the artist’s studio became the bustling streets of Paris, revealed to him the alchemy of stagecraft and the invisible choreography of transformation that still fuels his work decades later.

As a designer, educator, and storyteller, Richard finds meaning in the balance between grace and power, the subtle and the spectacular. His philosophy of light is rooted not in ego but in empathy: to illuminate is to listen. From the fluidity of dance to the emotional architecture of text, he approaches each collaboration as a conversation built on patience, curiosity, and care.

For Richard, the next generation of artists is proof that creativity remains alive and wonderfully arrogant, a phrase he delivers with both pride and hope. His work, like his mentorship, is a quiet invitation to see, to feel, and to leave with more than you arrived with.

In this edition of PROFILES, we meet an artist who lights the way by lighting the air.

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Richard Bryant

he/him
Educator & Author
United States
Matthew Neenan's Water of the Flowery Mill, source: Christopher Blank

1. What sparked your interest as an artist and how has that spark evolved over time?

When I was in middle school, I was part of the school music program. On a school field trip, we went to the Lyric Opera in Chicago to see La Boheme by Puccini. It changed the course of my life. I saw magic happen in front of me and all because of the set change from Act 1 to Act 2. We went form the artist’s studio into the streets of Paris over the course of a short interval. That moment made me want to learn how it was done and I’m still fascinated by how it all works even though I’ve done hundreds if not thousands of scene changes at this point.

2. Can you share the story behind one of your favorite works and what it means to you?

I enjoyed doing lighting for dance because I find it the most expressive. It is an opportunity to light the air and allow the performers to swim through it. My favorite original lighting for a dance piece was for choreography by Matthew Neenan at Ballet Memphis many years ago. The piece titled Water of the Flowery Mill was originally choreographed and presented at the Ballet Memphis fundraiser titled Food in 2011. It was revisited and performed later in the year at Dance St. Louis. It was a beautiful piece of choreography and I tried my best not to overdo or interfere with it. I don’t know if the piece is performed anymore and it is more than likely been reimagined, but having the opportunity to be the first at something is such an amazing feeling.

OISTAT Congress 2025 at World Stage Design, source: Richard Bryant

3. What is your creative process—do you follow a routine or does inspiration come spontaneously?

I’ve been fortunate to sit and watch designers of all kinds work which has allowed me to see and experience routines and organizational forms that I still use to this day. My routine is to constantly remind myself that you always need somewhere to go and that the show isn’t all about you or your lighting. Build a good base from which to build upon and slow down. Inspiration often comes from unlikely places so I leave space open in my mind as I’m working.

4. What has been your biggest challenge as an artist and how did it influence your growth?

I used to get very confident in what I wanted and it was often contrary to the piece or play. I have had to figure out a way to get what I felt I wanted to create while making sure the work got what it needed. It took some hard lessons to understand that design is a conversation and not a confrontation. The axiom of “less is more” is true. Appreciate the subtle. Be bold when necessary.

Scale model for Merchant of Stuttgart, source: Richard Bryant

5. Who or what inspires you the most, and how is that reflected in your work?

Well written words inspire me as well as having my emotions moved. I’m inspired by quiet places where all I have to do is listen or look. Nature is amazingly beautiful with its grace as well as powerfully violent with how destructive it can be. I don’t think those large swings show up in my work but the inspiration that I draw from those swings drive me forward to be both graceful when grace is needed and to be powerful and thunderous when the moment comes.

6. What do you think is the most exciting thing happening in your field right now?

That creativity is still well and alive with students who are wonderfully arrogant and willing to dare greatly.

source: Richard Bryant

7. What advice would you give to artists or creatives who are just starting out?

You will have moments of great brilliance and crushing doubt. Have someone who you can call and talk with. A best friend. A friend who is both supportive and honest with you.

8. How do you hope your work will connect with people or leave an impact?

I want people to leave with more than what they walked in with. I would rather have given my creative energies and knowledge away then take it with me when I’m gone. I hope that something I did or said, big or small, continues to echo long after I am gone.

Julie Niekrasz' On the Inside, source: Christopher Blank

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