SET DESIGN
TECHNICAL
Plans, Drawings, Models, Construction & Fabrication
BUDGETING
Labor, Money, Materials
RESOURCING
Research, Script Reading, Material Sourcing, Collaboration
SKILLS
Creativity, Enthusiasm, Adaptability, Working Well Under Pressure
DESIGN CREDITS INCLUDE
December - January 2020
FRESH INK THEATRE
Scenic Designer, Last Catastrophist, by David Valdes Greenwood
March - May 2019
NEW YORK DEAF THEATER
Scenic Designer, Every Brilliant Thing, by Duncan McMillan and Johnny Donahoe
September 2015-2018
BOSTON UNIVERSITY
Scenic Designer. Our Town by Thornton Wilder; Tiger at the Gates by Jean Giraudoux; Mad Forest by Carol Churchill; Hunting Cockroaches by Janusz Glowacki, Dancing at Lughnasa by Brian Friel.
December 2014
BURLINGTON PLAYERS
Backdrop Designer. Miracle on 34th St. by Valentine Davies
LAST CATASTROPHIST
By David Valdes Greenwood
This project presented the challenge of containing the vastness and drama of the Icelandic landscape inside a small blackbox space. Ultimately, minimalism was chosen as the best approach to allowing the audience members' imaginations to fill in the blanks of the terrain and atmosphere. The design in based on the concept of 4 concentric rectangles, each with an increasing sense of ambiguity and seperation- a sterile, focused, inner "boxing ring"; a geometric suggestion of the harsh, rocky Icelandic terrain; the audience, who is separated from the stranded characters in the story; and a hazy suggestion of a cold and nebulous horizon far in the distance.
EVERY BRILLIANT THING
By Duncan MacMillian with Johnny Donahoe
The scene design for New York Deaf Theatre's production of Every Brilliant Thing utilizes a variety of soft goods to make the sterile space of the black box more inviting for the audience. On stage seating encourage audience members to participate while the narrator guides them through his appreciation of jazz music, his personal history with depression, and the struggle accepting those we love regardless of how we or others may feel about ourselves. Projection, and the materials projected onto, played a major role in conveying to a mostly deaf audience the music and its role in the narrative.
BOSTON UNIVERSITY
Designing at Boston University fostered in me a deep appreciation for intimate, studio-based design, fringe theater, and history-based design. In class and practicum I learned foundations in collaboration, design, and storytelling. In addition to producing shows, I also studied dramatic literature and art history, which continue to influence my work. Assistant opportunities provided me the opportunity to work with older students to develop technical design skills such as model building, drafting, and budgeting. Below is a sample of work from my time at BU.
