*Due to Covid-19, this show was postponed for over a year. This resulted in many original production members dropping the show, including the original vocal director. I was asked to step up as vocal director for the duration of the production.*
You're A Good Man, Charlie Brown​
Written by Charles M. Schultz and John Gordon, composed by Clark Gesner
February 25-27 2021
Vocal Director*
Scene-By-Scene Actor Run Sheet
Little Women
Book by Louisa May Alcott, Adapted by Thomas Hischak
February 3-5, 2021
Stage Manager and Composer
Scenic Run Sheet
Properties Run Sheet
Scenic Design Breakdown
I created this sheet for my set head as a clear breakdown of what elements were necessary in each scene, the in-play location of each scene, and what is happening plot-wise as it pertains to the set.
Mic Change Run Sheet
As Stage Manager, I supervised and creatively aided all of my crews, but I worked much more intimately with sets, costumes, sound, and props. I made over a dozen pieces each for costume and prop crew because they were short on time; while calling cues for the show, I switched mics backstage with sound crew and ran set pieces. As seen below, I composed a piano duet for the show as well.
Almost, Maine​
By John Cariani
October 22-24, 2020
Costume Design and Construction (Head)
Costume Planning Sheet
Due to the nature of the show (short duo scenes, each costume being worn for only 10 minutes or so) and the rehearsal restrictions due to Covid-19, most of my work for Almost, Maine wasn't construction. There were a few pieces that I modified or created (such as the small pink party dress or a handful of scarves), but most pieces were thrifted or the personal property of cast members or myself. The planning document above served as a to-do list of sorts, separating each actor and categorizing the pieces they needed based on how I would be obtaining them. I also kept all sizing information here as well as what items had already been obtained.
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When choosing pieces from the costume room, I took photos of all the pieces we would end up using and labeled the photo with the actor's name as an extra layer of documentation. Some examples are shown below.
The Taming Of The Shrew​
By William Shakespeare
Virtual Performance, 2020
Audio Engineer, Lighting Design
Due to COVID-19, Paradise Valley Theatre Company's performance of The Taming Of The Shrew was not performed traditionally. However, the cast composed an "audio book" of the show over Webex, and technicians created presentations demonstrating their work within the production. The following work is the sum of my involvement both in the cast recordings and light design.
Lighting Design
My lighting designs were never fully realized due to the COVID-19 outbreak and school closures. However, my cue sheets are paired with a light plot, instrument schedule, color hex codes with pictures to match, and an explanation of why I chose the lighting I did.
The Caterpillar - Construction
Alice in Wonderland​
Book by Lewis Carroll and Two Act Play by Anne Coulter Martens
October 17-19, 2019
Costume Design and Construction
The show's costume head brought me a rough design for a blue blazer with four arms and a "tail" with many arms. I decided I wanted to add an extra set of arms (totaling to 6) for a more impressive effect. I color matched a thrifted blazer with some thin but opaque royal blue fabric to make a "tail" and arms with. I sewed the tail to the inside of the blazer and the arms more towards the back with a sewing machine. I stuffed the arms with some spare lightweight fabric that was lying around, and then I stuffed 20 or so white gloves with polyester fluff. The stuffed gloves were all hot glued along the edge of the tail and in the holes of the extra four arms. I then used fishing line and a large needle to loosely tie the main arms to the bottom two sets, so the fake arms would move when the actor moved his real ones.
The Gryphon - Design and Construction
I designed the color palette for the gryphon costume, deciding on dark green, red, and black. The actor brought in his own pants, and I thrifted a dark green shirt for the costume. I then cut some dark green felt into a double wing shape with a hot glued elastic loop on both of the top wings that was 6 inches in diameter. I then got six bags of feathers, two of each color, and hot glued them to the felt, layering them from the bottom to the top as densely as possible. I then used a sewing needle and fishing line to connect the bottom wings to the top ones so they move together.
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I thrifted a pair of twisty red devil horns and got another bag of green feathers to cover the headband with. I worked around the headband, hot gluing feathers on the entire surface. The headband ended up being pinned in place by makeup crew.
The Mock Turtle - Design and Construction
I attached a brown vest to a fabric, two dimensional turtle shell that was already made via safety pins at 8 points on the shell so it could be reused for a later costume. I then had the actor try on an old white button down shirt with the vest so I could mark where the top edge of the shell naturally met with the shirt and the actor's shoulders. I also marked where the shell naturally matched up with the middle of the actor's torso. I then cut four holes in the shirt and vest in the places I noted above and ran about two yards of 2-inch-thick elastic through them. This elastic was hot glued to the vest in such a way that it was covered by the shell and arranged as seen in the sketch below. The elastic runs under the button down so it cannot be seen, but is secure enough for the actor to jump and roll around onstage while keeping all the layers in place.
*All of the pieces used for this costume were already in PVTC's costume room.*
Humpty Dumpty - Design and Construction
This costume was pretty straight forward in concept and in practice. We wanted Humpty Dumpty to look as much like an egg as made sense for the show, so I decided to take a bunch of fluffy, light-weight fabric from PVTC's fabric room and stuff a 2XL cream colored button down shirt with it. It probably took four yards of fabric or so and 5 minutes to stuff pre-show. I decided to add the hat, suspenders, and tan pants to have all the colors be "egg-ish". The tied black piece of fabric is meant to be a "bandage" of sorts for a later part of the show, and is worn along with a sling.
Disney's Beauty and the Beast
Book by Linda Woolverton, Lyrics by Howard Ashman and Tim Rice, and Music by Alan Menken
April 4-6, 2019
Costume Design and Construction
Chip - Design and Construction
I was assigned to Costume Crew about a month before the show was performed. I went to Costume Creations, a local costume rental business, with my costume head multiple times during rehearsals to help pick costume pieces. The major projects I worked on, both in construction and in quick changes during the show, are discussed here.
To make the frame for the "saucer" and "cup" (white and blue parts respectively), I got two large embroidery hoops. I then lined up a white cotton fabric with the circumference of the embroidery hoop, sewing a two inch seam at the top but not sewing the ends. I then did the same thing with the stretchy royal blue fabric to the right, but also sewed a two inch seam at the other end, which I later ran elastic through that was 2 inches shorter than the actor's waist measurement. I then sewed a top, bottom, and back seam on an approximately 8 inch wide piece of nylon fabric that was fit to the actor's waist. I cut a foam brush into the leaf-like shape I wanted, dipped it in gold paint, and stamped it around all three pieces seen to the right. The top of the white piece and the bottom of the royal blue piece were then run around an embroidery hoop and hot glued shut. I painted a gray "chip" on the top and glued two 2-inch ribbon strips across the top hoop, which were pinned to the actor's white long sleeve shirt.
Mrs. Potts - Construction
The dress and apron used for Mrs. Potts' costume were rented, but we had to fit a hoop skirt to the dress for it to look more like the wide base of the tea pot. I sewed some small stitches on each layer of the hoop skirt to keep the dress attached properly and to keep the hoop skirt from bunching up.