Technical Instructor in Lighting and Dance Production
An instigator of space, bodies, and ideas who wears his heart on his sleeve and the sky on his arm - while working in lighting design, scenic design, curation, and installation art - Mark O’Maley is a Vermont based artist who has a fascination with how people use and inhabit space. He lights mostly dance.
O'Maley's most recent work includes the lighting design of 50 Song Memoir for The Magnetic Fields which premiered at Mass MoCA and Brooklyn Academy of Music’s Next Wave Festival (and an international tour); Man in Snow at Gloucester Stage Company (IRNE Best Lighting Design nomination), Trio A with Yvonne Rainer, Continuous Relation for Kyle Abraham, Solo In Nine Parts for Jessica Lang, City Of Rain for Camille A. Brown, Beautiful Human Lies with Rennie Harris Grass Roots Project, and Sp3 with <fidget> & FringeArts in Philadelphia.
O'Maley's New York City credits include off-Broadway at LaMaMa E.T.C. & The Pearl Theatre Company, as well as designs at P.S. 122, Dance Theater Workshop, Ohio Theater/Ice Factory Festival, The Joyce Theater, Flea Theater, The Apollo Theater, & HERE Arts Center.
Over a thirteen year span in Philadelphia Mark designed a wide range of projects with and for venues & artists including Reactionaries (for which he was co-director with Bethany Formica), Chris Aiken, New Paradise Laboratories, Emmanuelle Delpech, Danny Hoch, National Constitution Center, Headlong Dance Theater, The Union League of Philadelphia, Pig Iron Theater Company, Prince Music Theater, Rennie Harris Puremovement, Lenape Regional Performing Arts Center, Megan Mazarick, Delaware Theatre Company, Walnut Street Theatre, Nichole Canuso Dance Company, Andrew Harwood, Contemporary Stage Company, PIMA Group, Brat Productions, The Bald Mermaids, KJ Holmes, Group Motion Multi-Media Dance Theater, The Grand Opera House, Jessica Warchal-King, Peter Bingham, Amtrak's 30th Street Station, Moxie Dance Collective, Thalia Field, Jamie Jewett/Lost Wax, The Wilma Theater (danceBOOM!), & The Painted Bride.
National and International credits include Toronto’s Luminato Festival, CAP/UCLA, Denver Center for the Performing Arts, Andy Warhol Museum, The Melbourne Festival, The Lincoln Theater/9:30 Club (Washington, DC), Michelle Ellsworth, DancePlace (Washington, DC), Fusebox Festival (Austin, TX), Camille A. Brown, American Repertory Theater, Northlight Theatre, The Orchard Project, River North Chicago Dance Company, Carolina Theater (Durham), Chien-Ying Wang, Flynn Center for the Performing Arts, Joe Goode, Stonington Opera House, Keith A. Thompson, Actor's Shakespeare Project, 7 Stages, Variety Playhouse (Atlanta), Berklee Performance Center, Peter Bingham, Theater At Monmouth, Pilobolus, Kimmel Center for the Arts, David Dorfman, Big Ears Festival, Boston Playwright's Theater, Ishmael Houston-Jones, Portland Stage Company, Harris Theater for Music & Dance (Chicago), Boston Center for the Arts, Orpheum Theatre/PhoenixStages, Fitzgerald Theater (St.Paul), Naples Philharmonic Center, Dance Chicago, Seattle Theatre Group/Moore Theatre, Primavera Sound Barcelona; the United Kingdom's Brighton Festival, Brighton Dome, Barbican Centre, Edinburgh Festival Fringe, Edinburgh International Festival, Sadler Wells' (West End), Colston Hall (Bristol), Philharmonic Hall (Liverpool); Ireland's National Concert Hall, Italy's Ravenna Teatro and Colombia's Festival Imberoamericano de Teatro de Bogotá.
For music performance Mark has lit the likes of Radiohead, George Clinton & P-Funk, Taylor Swift, Anais Mitchell, Belly, Rage Against The Machine, & Babatunde Olatunji.
Both of O'Maley's degrees are self-designed: a BA in “Lighting Design for Art, Architecture, & Performance” is from the University Without Walls program at the University of Massachusetts Amherst, and an MFA in Interdisciplinary Arts from Goddard College. In addition to 15 years as a guest artist at Concord Academy in Massachusetts, Mark has served as an Assistant Professor at Mason Gross School of the Arts at Rutgers University, and Franklin Pierce University in New Hampshire; and he has served as the faculty Director of Dance Production at the University of Colorado Boulder and Production Manager for the Vermont Governor's Institute on the Arts at Castleton University. Mark has presented his research at the Society of Dance History Scholars & American College Dance Association conferences. He was the Technical Instructor in Lighting and Dance Production at Bennington for the Spring 2018 and Fall 2018 terms.