He had been studying lighting at Boston University and transferred to Purchase. "Mintzer presented lighting design from the point of view of a director, analyzing text — what is this about, why are we telling this story, how do you feel about the characters, the environment?"
At Berkshire, Posner encountered Gordon Edelstein, who had just become its associate director and who now heads Long Wharf Theatre. "We hit it off; he hired me to design three shows at Berkshire's second stage." He also met Michael Greif, who later directed Rent.
"I moved to New York. In 1990 Michael and I did a play, Machinal, at Naked Angels. Joseph Papp saw it and moved the entire production to LuEsther Hall at his Public Theater. That was my first big break."
The second came in 1996. Posner had worked Off-Broadway and in not-for-profit and regional theatre. Nicholas Martin, then at Playwrights Horizons, introduced him to Jack O'Brien, who was head of San Diego's Old Globe Theatre. O'Brien asked him to light Getting Away with Murder, a mystery by Stephen Sondheim and George Furth. It made the jump from the Old Globe to Broadway, under O'Brien's direction.
"It didn't run long," Posner said — 29 previews, 17 regular performances. "But it was my first break in commercial theatre. The New York Times said some kind words about the lighting design. That's all it takes. That seed. Your name in the Times in a positive context can launch a young artist's career. It was magic."
"Someone once asked me, 'How long do you plan to be a lighting designer?'" Posner said. "It was a confusing question, because I get to work with great artists on great projects. I feel so lucky that I can walk into a theatre and tell someone's story, and hopefully move someone or change someone's life or entertain someone. I want to do it forever."
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