Contrast.

Since my Our Town project, I've been keenly aware of great contrasts in lighting, and their individual emotionality. One example is in the latest version of Peter Pan (with Jeremy Sumpter and Jason Isaac playing Mr. Darling and Hook). In Neverland, Peter is lighted with a saturated blue and pink that together could make a strong medium purple, but the designer kept the two colors just enough apart and light opposite sides of the face at any time. This design lends to the happy-sad dynamic of childish-Neverland-emotions; it also details a child's struggle to be a child and grown up. More specifically, the duality really makes the fight for one side or the other to win over the other captivating, interesting, so that as an audience, you are always in the moment with the action. In addition, the high intensity and transmission of the color and light itself blasts the eye with warm energy, keeping the audience with the feeling of "adventure". My other example comes from Book of Tink, funny enough. Addy's lighting does many of the same things, and very effectively. While Peter is not lit with this same pink and blue, the mermaids are. It is these characters that are the keeper of the Pan story, so how you choose to light them greatly affects the audience. From an actor's view, this pink/blue dynamic really unsettles me, gives off a sense of ruthless and desperate wanting. Paired with the mermaids dingy, unmoral and two sided feelings of Pan, this design really gets to the core of the mermaid's character, personally. Simliar to the movie, the high intensity really penetrates and vibrates in the viewer.
So, I'm a fan of strong contrast in lighting.
(Oh, and btw, I'm in the girl in the white skirt in Solia's picture from Tink tech...)