Producing the technical elements for “Once on This Island” was a blast of creativity and an exploration of what we could really bring construction-wise. I wanted many levels and areas where the characters could use the space not only to create beautiful pictures but express the choreography on all spaces of the set.
Read MoreThe Eight Reindeer Monologues /
This production was chosen to travel and be performed at the annual Texas Thespian Festival as a main stage performance. I felt secure in the power of this script to challenge our actors in many ways. This script is set so that each scene is a different monologue from one of Santas reindeer, explaining their experiences with Santa and his less than jolly behavior and working conditions.
Read MoreAnna in the Tropics /
Creating the cigar factory for this production was my opportunity to display what I could bring to technical elements as it was my first production with Klein Forest HS. After falling in love with the play and seeing the characters start to mirror the characters in the novel, I wanted to take the setting and alter the realism. I wanted the actors to be surrounded by this novel and that was the literal concept for my set design.
Read MoreBlues for an Alabama Sky /
After reading the script, I envisioned Angels’ apartment but wanted there to be a bigger theme being conveyed by the set. I wanted to create columns that we could light with our wireless LEDs. In doing so, I sketched out an Art Deco-inspired pattern and routed it onto luan sheets that hung on each bi and tri-fold you see pictured below. Inside is the LED that created a stunning full stage picture as the show opened, closed, and shifted scenes.
Read MoreIn the Heights by Lin-Manuel Miranda /
Choreographing “In the Heights” was such a labor of love; the music, its references, play on culture, the urban feel, all opened up endless possibilities for how I was going to portray emotions through the movement and dance. When we held auditions we were blown away by the response and it was equally matched with talent and drive. We ended up casting the show with just under 50 members and 31 of them being in the ensemble, this amazing number of storytellers was the driving force for establishing the same community feeling of the production.
Read More1984 /
While reading this play in 2015, I was instantly creating the world I was reading about, even if it didn't match the description "suggested" in the script. I began imagining each scene in a hyper exaggerated futuristic world that had many hints of the modern world we are living in. Very sharp, robotic, the characters with iPads, iPhones, connecting to social media, tagging, and checking in. I wanted to explore a world where Big Brother was really always watching, collecting data, and around the corner waiting for you to get out of line. The citizens of Oceania were almost matching the citizens of today, glued to their devices, checking in, tagging, and collecting the data for Big Brother. Industries who have the power to use that information to create Algorithms that keep you working and posting to their subscriptions.
Read MoreA Midsummer Nights Dream /
Setting this production in its original location, Athens, gave me room to stylize the elements to fit this regal and “sculpted“ look. I was instantly thinking about the tree and what I was going to have it look like, I had this image of the tree shifting into place as the scene changes, with the farries magic spinning this tree around to revel puck inside it.
Read More