LIMESTONE COLLEGE- Costume, Lighting, Sound and Poster Design

Assistant Professor of Theatre
Gaffney, SC
2016- Present
SHOWS INCLUDE(from top to bottom):  
Curtains (F16), August Osage County (F16), Peter and The Starcatcher​ (S17), Evil Dead (F17), 
​Learned Ladies (S18), Anything Goes (S18), Measure for Measure (F18), Snow Queen (F18), Ghost Sonata (S19)
curtains_research.pdf
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august_plot__mini__10.27_11x17.pdf
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research-august.pdf
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peter_4.8.17.pdf
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peter_ad_b.jpg
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evil_dead_lights_9.14.17.pdf
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evil_dead_poster_copy.jpg
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renderings__all_12.13.17_.pdf
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learned_ladies_poster.jpg
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learned_ladies_1.29.18.pdf
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channel_hookup_-_learned_ladies_1.29.18.pdf
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Curtains
Lighting and Costume Design

by John Kander and Fred Ebb
Directed by Dr. Tim Baxter-Fergusson
Limestone Center Theatre
Oct. 2016
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An unlikable leading lady is murdered during her opening-night curtain call. Frank Cioffi, a police detective and musical theatre fan, must solve the mystery and save the show.

August Osage County
Costume and Lighting Design

by Tracey Letts
Directed by Rob Kahn
Limestone Center Theatre
Nov. 2016

The death and funeral of their father brings three sisters to the home of their mother, Violet, an acid-tongued, pill-popping cancer patient. Daughters Barbara , Karen and Ivy  -- along with their significant others and various other kin -- take the full brunt of their dysfunctional matriarch's venom, for Violet tells every one of them exactly what she thinks of them. 

Set in the Violet's home in the present day. 

Peter and The Starcatcher
Lighting and Costume Design

by Dave Barry and Ridley Pearson
Directed by Dr. Tim Baxter-Fergusson
Limestone Center Theater
April. 2017

Peter and the Starcatcher is a play based on the 2004 novel of a similar name by Dave Barry and Ridley Pearson, adapted for the stage by Rick Elice. The play provides a backstory for the character Peter Pan, and serves as a prequel to J. M. Barrie's Peter and Wendy.

This production was done Sustainable with costumes and set made out of found and recycled materials

Evil Dead: The Musical
Lighting Design
Poster Design


Book and lyrics by George Reinblatt. Music by Frank Cipolla, Christopher Bond, Melissa Morris and George Reinblatt. Music supervision by Frank Cipolla. Additional lyrics by Christopher Bond. Additional music by Rob Daleman.
Directed by Dr. Tim Baxter-Fergusson
Limestone Center Theatre
Oct. 2017
​
This hilarious live stage show takes all the elements of the cult classic films, The Evil Dead, Evil Dead 2, and Army of Darkness and combines them for one of the craziest theatrical experiences of all time.  Five college students go to an abandoned cabin in the woods, and accidentally unleash an evil force that turns them all into demons.  

Learned Ladies
Costume and Lighting Design
​Poster Design

by Moliere
Translation by Fryda Thomas
Directed by Robert Kahn
Limestone Center Theatre
Feb. 2018

During the Salon movement of the 17th century, women, thirsty for knowledge and freedom, began to read, discuss and absorb all the learning they could now get their hands on. Frequently, into that mix came sycophants and opportunists, to take advantage of the budding but not fully formed intelligence of the Women's Movement. Enter Trissotin, a mediocre poet with a lot of sex appeal and little literary talent, who all but seduces Philamente, determined to be at the forefront of the movement. Equally determined to marry him off to her younger daughter (who just wants to marry her sweetheart Clitandre and raise children), she bullies her meek husband into tacitly agreeing, and the machinations that follow between family members, visiting poets and maids who refuse to learn proper French are predictably and delightfully Molière. This version strays from a strictly literal translation of the play, often employing anachronisms in the rhymed couplets that may appall purists, but have delighted audiences since its original inception. 
m4m-soundqs_9.16.18.pdf
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m4m_9.25.18.qlab4
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Anything Goes 
Costume and Lighting Design
​Poster Design

by Cole Porter
Directed by Tim Baxter-Ferguson
Limestone Center Theatre
April. 2018

Anything Goes is set aboard the ocean liner S. S. American, where nightclub singer/evangelist Reno Sweeney is en route from New York to England. Her pal Billy Crocker has stowed away to be near his love, Hope Harcourt, but the problem is Hope is engaged to the wealthy Lord Evelyn Oakleigh. Joining this love triangle on board the luxury liner are Public Enemy #13, Moonface Martin and his sidekick-in-crime Erma. With the help of some elaborate disguises, tap-dancing sailors and good old-fashioned blackmail, Reno and Martin join forces to help Billy in his quest to win Hope’s heart.

We set our production in period and I wanted to really accentuate a Patriotic color palette while using fun glitzy textures in the costumes and saturated lighting.

Measure for Measure
Lighting  and Sound Design

by William Shakespeare
Directed by Rob Kahn
Limestone Center Theatre
October 2018

Excerpt from DIRECTORS NOTE:
"Although set in Vienna, Shakespeare obviously intended the play to reflect conditions in the London of his time, a fact immediately recognizable to his audience. For this reason, I have chosen to set our production in a time and place that is similarly familiar to many of us: Washington DC today. In a world beset by crisis, what kinds of authority should be given to our political leaders, and what exactly is a “just” punishment? What is the balance between justice and mercy? Between sensuality and rationality? Between duty to God and duty to family? What constitutes abuse of power?  How are the traditional role models of men and women changing? 
These questions won’t necessarily be answered for you by the end of the play: my hope is that you continue to question these ideas and create a dialogue in order to reflect upon where our society stands today. "-Rob Kahn

For my lighting and sound design I wanted to bring in the contemporary nature of the concept while allowing the mood of certain scenes to subtly creep in.  I did this with colors for light and with underscoring for the special scenes.  In addition, my pre-show music was indicative of Americana and happy times while my intermission spoke more to the darker side of our country and its politics.

Snow Queen
Costume Design


by Preston Lane
with original music by Laurelyn Dossett
inspired by THE SNOW QUEEN by Hans Christian Andersen
Directed by Dr. Tim Baxter-Ferguson
Limestone Center Theatre
November 2018

“When a young boy disappears on a winter’s day in the heart of Appalachia, his best friend sets out to bring him home.  So begins a journey through snow and ice, leaving the everyday world behind, as a magical winter time path leads deeper into a frozen kingdom.  Inspired by the classic Hans Christian Andersen fairy tale, this world premiere adventure for audiences of all ages transports the story to the highest peaks of the Blue Ridge.  Snow Queen weaves music, magic and make believe to celebrate the courage of a brave young girl.”- Triad Stage
 
Originally written and produced at Triad Stage in Greensboro, NC, this magical piece is an Appalachian riff of the classic Hans Christian Anderson Tale. Most audience members are more familiar with the Disney adaption Frozen but this version brings in folk and Blue grass music directly from the hills of the Carolinas.  Original music by Laura Lynn Dossett and play by Preston Lane, both natives of Boone, NC, are known for weaving their Appalachian heritage into great theatre.  

For my costume design I wanted to use traditional Appalachian textures and colors found in folk art  as a basis for the palette and patterns.  I also wanted to link characters together using these specific colors and textures to show their connection to each other and to the region.
ghost_elevations-_flats.pdf
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g.6_gp.pdf
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gs_v.1.pdf
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light_plot_1.20.19.pdf
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Ghost Sonata
Set, Costume and Light Design

by August Strindberg
Directed by Dr. Tim Baxter-Ferguson
Limestone Center Theatre
March 2019

When we decided to produce Ghost Sonata this season, I asked if I could design the set, lighting, and costumes for our production.  This is one of my favorite plays: I have always wanted to design it.  The opportunity to do the scenography for this production is a dream come true.
In the end, Ghosts Sonata is a ghost story.  It is a dream play (which is a title of another on of Strindberg’s famous works) that brings me to the artistic inspiration for my design: Expressionism.  Expressionism is defined as “a style of painting, music, or drama in which the artist or writer seeks to express emotional experience rather than impressions of the external world”. Though Ghost Sonata has been placed in many theatrical genres—Surrealism, Symbolism, Modernism—I believe Expressionism works best, simply because of Strindberg’s desire to illustrate an external world while simultaneously immersing us in an internal and ethereal one.
For my set design, I took much of my inspiration from The Cabinet of Dr. Caligari, a famous 1920 German Expressionist horror film.  The exaggerated and nightmarish abstraction in the world of the film fit perfectly into this dream world we wanted to create for the play.  As you will see, my lighting design is crucial to the scenery because of the shadows and color transmitted through the walls of the set. I gained inspiration for this from the woodblock prints of Ernst Ludwig Kirchner as well as the shadow techniques used in Dr. Caligari.
For costumes, much like the furniture in the show, we decided to have them be real and period accurate.  Again, this was to accentuate that juxtaposition between dream and reality.  My colors, textures, and emotional influence for all my design elements were inspired by works of Edward Munch, Jack Vettriano, Oscar Kokoschka, and Eric Heknal. 
There is one piece of artwork I have not yet mentioned, but is incredibly important to the piece: Arnold Bocklin’s Isle of the Dead.  Strindberg specifically references this piece at the end of the play when innocence is finally rewarded with heaven.  It is an eerie and beautiful piece that I believe was chosen by Strindberg for its soft, ghost-like texture and solitary white figure sailing towards a mysterious and idyllic island. I believe this is what Strindberg was looking forward to in his own redemption as he struggled with the dark earthly matters that seemed to weigh upon him as he wrote this play.

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