Tom Jones

Posted February 13th, 2014 in Portfolio by sarah

Adapted by Jon Jory
Northlight Theatre
January 2014
Directed by William Brown
Set design by Jeffrey Kmiec
Costume design by Rachel Healy and Carolyn Cristofani
Sound design by Andrew Hansen

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The Mountaintop

Posted November 17th, 2013 in Portfolio by sarah

By Katori Hall
Court Theatre
September 2013
Directed by Ron OJ Parson
Set design by Scott Davis
Costume design by Melissa Torchia
Sound design/composition by Victoria DeIorio
Video/projection design by Mike Tutaj

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How to End Poverty in 90 Minutes…

Posted July 18th, 2013 in Portfolio by sarah

How to End Poverty in 90 Minutes with 199 People You May or May Not Know

Conceived by Michael Rohd and developed with students at Northwestern University
Northwestern University Theatre and Interpretation Center
May 2013
Directed by Michael Rohd
Set design by Todd Rosenthal and Shawn Ketchum Johnson
Costume design by Stephanie Cluggish
Sound design/composition by Rick Sims
Video media design by Shannon Scrofano

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The Elephant and the Whale

Posted June 18th, 2013 in Portfolio by sarah

By Seth Bockley with music by Kevin O’Donnell
Chicago Childrens Theatre with Redmoon Theatre
April 2013
Directed by Frank Maugeri and Leslie Buxbaum Danzig
Objects designed and created by Redmoon Theatre
Shadow video design by Liviu Pasare

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Lake Effect

Posted May 18th, 2013 in Portfolio by sarah

By Rajiv Joseph
Silk Road Rising
April 2013
Directed by Timothy Douglas
Set design by Dan Stratton
Costume design by Janice Pytel
Sound design/composition by Rick Sims
Video/projection design by Mike Tutaj

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Hamlet

Posted December 10th, 2012 in Portfolio by sarah

By William Shakespeare
Writers’ Theatre
September 2012
Directed by Michael Halberstam
Set design by Collette Pollard
Costume design by David Hyman
Sound design by Mikhail Fiksel

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Black Pearl Sings!

Posted February 28th, 2012 in Portfolio by sarah

By Frank Higgins
Northlight Theatre
January 2012
Directed by Steve Scott
Set design by Jack Magaw
Costume design by Emily McConnell
Sound design by Christopher Kriz

Research collages

Production photos
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The Kid Thing

Posted February 28th, 2012 in Portfolio by sarah

By Sarah Gubbins
Chicago Dramatists/About Face Theatre
September 2011
Directed by Joanie Schultz
Set design by Chelsea Warren
Costume design by Izumi Inaba
Sound design by Miles Polaski

Research collage


Production photos
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Celebrations

Posted May 18th, 2011 in News by sarah

There are a few things to celebrate.

The least of which is not the well-deserved success of Festen at Steep Theatre.  “Festen” means celebration…but this party gets a little…um…uncomfortable?…when certain things are revealed about the man being celebrated.  Steep Theatre pursued this script for a long time before they landed it, and it was delightful to work with their talented ensemble, as well as to team up with director Jonathan Berry and set designer Dan Stratton again after the much-lauded Suicide, Inc. last year.

And for something completely different, I am looking forward to teaming up again with Lookingglass’s David Kersnar on two projects next season: first up is Goodnight Moon.  A musical based on the book we all know and love from childhood, it will come to life at Victory Gardens with a production by Chicago Children’s Theatre.

Then in early 2012 Lookingglass and David Kersnar are back at the Chicago Symphony with a special co-production. Into the Big Green Meadow was a blast last year, so I am excited to be invited to play again.

Also in 2012 I’ll be back at Lifeline with the same wonderful team from Wuthering Heights and Mariette in Ecstasy, adapter Christina Calvit and director Elise Kauzlaric for Pride and Prejudice. Can’t wait!

Festen

Posted May 18th, 2011 in Portfolio by sarah

By David Eldridge, based on the film and play by Thomas Vinterberg, Mogens Rukov and Bo hr. Hansen
Steep Theatre
May/June 2011
Directed by Jonathan Berry
Set design by Dan Stratton
Costume design by Janice Pytel
Sound design by Christopher Kriz

Research and renderings


Production photos
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Festen began its life as a story captured on film by artists using the “Dogme 95” outline for film-making, which emphasizes naturalism and eschews any special effects of lighting or elaborate camera set-up. When playwright David Eldridge adapted the story for the London stage, he channeled that school of thought into an emphasis on gaining a gritty, uncensored look at the relationships of these twisted family characters.
In Jonathan Berry’s Steep Theatre production, the goal of the design was to ground the family in a world that feels rich, but dark; and allows scenes to move fluidly from one cold hotel room to another, before settling around the large celebration table where the secrets, lies, and accusations that mar the patriarch’s birthday take place. In lighting, that meant supporting the deliberate, spare set with a cool-to-cold color palette, sharp lines of light for figures to pass into and out of rooms, and careful use of high contrasts between highlight and shadow.  Christian’s struggle with the truth is underscored by visions of his dead sister, supported with light by a mysteriously warm and shadowy look that obscures the face of his young niece and drives him deeper into confusion. Once all is laid bare, and all of his siblings are forced into a confrontation with their father, an awkward breakfast under a soft, less shadowy light suggests that from the ugly truth might arise new life.