Holder, Donald

views updated

HOLDER, Donald

PERSONAL

Married Evan Yionoulis (a stage director); children: Sarah, Josh. Education: Yale University, M.F.A., technical design.

Addresses: Contact— c/o Allan Albert Productions, Inc., 665 Broadway, 4th Floor, New York, NY.

Career: Lighting designer. Allan Albert Productions, Inc., New York City, member of creative team and lighting designer, 1992—. Ballet Hispanico, lighting supervisor, 1986–89; Randy James Dance Works, lighting designer; George Street Playhouse, New Brunswick, NJ, served as resident lighting designer. Also works on architectural lighting projects, including designs for AT&T Interactive Communications Gallery, Dance Theatre Workshop, public spaces at Sony Plaza, the Sony Wonder Technology Museum, and designs for banks and airline terminals and baggage claim areas.

Awards, Honors: Drama Desk Award nomination, outstanding lighting design, c. 1990, for The Caucasian Chalk Circle; American Theatre Wing Award nomination, outstanding lighting design, c. 1996, for Hughie; Antoinette Perry Award nomination and Drama Desk Award nomination, both outstanding lighting design, c. 1997, for Juan Darien: A Carnival Mass; Antoinette Perry Award, Lucille Lortel Award, League of Off–Broadway Theatres and Producers, Drama Desk Award, Outer Critics Circle Award, American Theatre Wing Award, all 1998, Los Angeles Drama Critics Circle Award, 2000, and Laurence Olivier Award nomination, Society of West End Theatre, all outstanding lighting design, for The Lion King; Outer Critics Circle Award nomination, outstanding lighting design, 2000, for The Green Bird; Lucille Lortel Award, outstanding lighting design, 2001, for Jitney; Outer Critics Circle Award nomination and Hewes Design Award nomination, both outstanding lighting design, 2002, for Thoroughly Modern Millie; Lucille Lortel Award and Drama Desk Award nomination, both outstanding lighting design, 2003, for Observe the Sons of Ulster Marching Towards the Somme; Antoinette Perry Award nomination and Drama Desk Award nomination, both outstanding lighting design, 2003, for Movin' Out; Los Angeles Ovation Award, outstanding lighting design for a larger theatre, 2003, for Gem of the Ocean; also earned a Helen Hayes Award for lighting design.

CREDITS

Stage Lighting Designer:

Eastern Standard, Manhattan Theatre Club, John Golden Theatre, New York City, 1989.

The Return, Jewish Repertory Theatre, New York City, 1989.

Spunk: Three Tales by Zora Neale Hurston, Crossroads Theatre Company, New York Shakespeare Festival, Martinson Hall, Public Theatre, New York City, 1990, then Royal Court Theatre, London.

Mi Vida Loca, Manhattan Theatre Club Stage II, New York City, 1990.

The Caucasian Chalk Circle, New York Shakespeare Festival, Martinson Hall, Public Theatre, 1990.

The American Plan, Manhattan Theatre Club Stage I, New York City, 1990–1991.

The Good Times Are Killing Me, Second Stage Theatre, McGinn–Cazale Theatre, then Minetta Lane Theatre, both New York City, 1991.

Selling Off, John Houseman Theatre, New York City, 1991.

Dearly Departed, Second Stage Theatre, McGinn–Cazale Theatre, 1991–1992.

Sight Unseen, Manhattan Theatre Club, Orpheum Theatre, New York City, 1992.

Solitary Confinement, Nederlander Theatre, New York City, 1992.

The Extra Man, Manhattan Theatre Club Stage I, 1992.

Jeffrey, Workshop of the Players Art Theatre, New York City, 1992–1993, then Minetta Lane Theatre, 1993–1994.

A Quarrel of Sparrows, Promenade Theatre, New York City, 1993.

Raised in Captivity, Vineyard Theatre, New York City, 1995.

Rush Limbaugh in Night School, Second Stage Theatre, McGinn–Cazale Theatre, 1995.

Luck, Pluck, and Virtue, Atlantic Theatre, New York City, 1995.

Phaedra, Vineyard Theatre, 1995.

After–Play, Manhattan Theatre Club Stage II, 1995–1996.

Crumbs from the Table of Joy, Second Stage Theatre, McGinn–Cazale Theatre, 1995–1996.

Holiday, Circle in the Square, New York City, 1995–1996.

Measure for Measure, Theatre for a New Audience, Theatre at St. Clement's Church, New York City, 1996.

The Amazing Metrano, Union Square Theatre, New York City, 1996.

The Green Bird, Theatre for a New Audience, New Victory Theatre, Forty–Second Street Theatre, New York City, 1996.

Fit to Be Tied, Playwrights Horizons Theatre, New York City, 1996.

Hughie, Circle in the Square, 1996.

Juan Darien: A Carnival Mass (musical puppet play), Vivian Beaumont Theatre, Lincoln Center, New York City, 1996–1997.

Minutes from the Blue Route, Atlantic Theatre, 1997.

The Red Address, Second Stage Theatre, McGinn–Cazale Theatre, 1997.

All My Sons, Roundabout Theatre Company, Laura Pels Theatre, New York City, 1997.

Plunge, Playwrights Horizons Theatre, 1997.

The Lion King (musical), New Amsterdam Theatre, New York City, beginning 1997, then Los Angeles, c. 2000, later London production.

Strike Up the Band (concert), City Center Theatre, New York City, 1998.

From Above, Playwrights Horizons Theatre, 1998.

The Maiden's Prayer, Vineyard Theatre, 1998.

Redhead, Goodspeed Opera House, East Haddam, CT, 1998.

Communicating Doors, Variety Arts Theatre, New York City, 1998–1999.

The Most Fabulous Story Ever Told, New York Theatre Workshop, New York City, 1998–1999.

Macbeth, American Place Theatre, New York City, 1999.

Voices in the Dark, Longacre Theatre, New York City, 1999.

Jar the Floor, Second Stage Theatre, 1999.

Saturday Night (musical), Second Stage Theatre, 2000.

Jitney, Second Stage Theatre, 2000, then Union Square Theatre, New York City, 2000–2001.

The Green Bird (musical), Theatre for a New Audience, Cort Theatre, New York City, 2000.

On a Clear Day You Can See Forever (concert), City Center Theatre, 2000.

The Education of Randy Newman, 2000.

King Hedley II, Huntington Theatre Company, Boston, MA, 2000, then Albert Ivar Goodman Theatre, Chicago, IL, 2000–2001, later Virginia Theatre, New York City, 2001.

Thoroughly Modern Millie (musical), Mandell Weiss Theatre, La Jolla Playhouse, La Jolla, Ca, 2000, then Marquis Theatre, New York City, 2002.

Tiny Alice, Second Stage Theatre, 2000–2001.

Bells Are Ringing (musical), Palace Theatre, Stamford, CT, then Plymouth Theatre, New York City, both 2001.

Glimmer, Glimmer, and Shine, Manhattan Theatre Club Stage I, 2001.

Chaucer in Rome, Mitzi E. Newhouse Theatre, New York City, 2001.

Everett Beekin, Mitzi E. Newhouse Theatre, 2001–2002.

Movin' Out, Richard Rodgers Theatre, New York City, 2002.

Carson McCullers (Historically Inaccurate), Women's Project Theatre, New York City, 2002.

A Man of No Importance, Mitzi E. Newhouse Theatre, 2002.

Little Shop of Horrors (musical), Virginia Theatre, 2003.

The Boys from Syracuse, Roundabout Theatre Company, American Airlines Theatre, New York City, 2002.

The Violet Hour, Julianne Argyros Stage, South Coast Repertory, Costa Mesa, CA, 2002, then Manhattan Theatre Club, Biltmore Theatre, New York City, 2003.

The Boys from Oz: From Down Under to over the Top (musical), Imperial Theatre, New York City, 2003.

Ma Rainey's Black Bottom, Royale Theatre, New York City, 2003.

Observe the Sons of Ulster Marching Towards the Somme, Mitzi E. Newhouse Theatre, 2003.

Gem of the Ocean, Los Angeles, 2003.

The Last Letter, Theatre for a New Audience, Lucille Lortel Theatre, New York City, 2003–2004.

Lighting designer for productions of The Caucasian Chalk Circle; The Changeling, Theatre for a New Audience; The Day the Bronx Died, Long Wharf Theatre, New Haven, CT; Julius Caesar; The Memory of Water, Manhattan Theatre Club; The Naked Truth, Workshop of the Players Art Theatre; Once around the City, Second Stage Theatre; Polish Joke, Manhattan Theatre Club; Richard II, Theatre for a New Audience, off–Broadway; Richard III, off–Broadway; The Root, off–Broadway; Things You Shouldn't Say Past Midnight, Promenade Theatre; and Titus Andronicus. Lighting designer for dance productions, including El Nuevo Mundo and Stages, both Ballet Hispanico, New York City, Bernarda and Inez de Castro, and Lila's Garden Ox and Dolly Sodse after the Flood; lighting designer for opera productions, including Battle Cry of Freedom and Captains Courageous, both Goodspeed Opera House, and Salome, Kirov Opera Company, St. Petersburg, Russia. Also lighting designer for productions at American Conservatory Theatre, San Francisco, CA; American Repertory Theatre, Cambridge, MA; Arena Stage, Washington, DC; Berkeley Repertory Theatre, Berkeley, CA; Center Stage, Baltimore, MD; Dallas Theatre Center, Dallas, TX; Hartford Stage Company, Hartford, CT; Intiman Theatre; Mark Taper Forum, Los Angeles; Pittsburgh Public Theatre, Pittsburgh, PA; Seattle Repertory Theatre, Seattle, WA; Williamstown Theatre Festival, Williamstown, MA; and Yale Repertory Theatre, New Haven.