Father Comes Home From the Wars, Parts 1, 2, & 3 - Yale Repertory Theatre, 2018. Photo courtesy of Jon West
New Haven, CT: 2017 - current
Yale School of Drama
Technical Design & Production, MFA Candidate 2020
Furthering my education in areas such as: technical design, structural design, drafting, technical management, collaboration, rigging, etc.
First Year Highlights
Father Comes home from the wars, Parts 1, 2 & 3
Assistant Technical Director - 2018
By Suzan-Lori Parks (Songs and Additional Music)
Directed by Liz Diamond
Randy Duncan (Choreographer)
Riccardo Hernández (Scenic Designer)
Sarah Nietfeld (Costume Designer)
Yi Zhao (Lighting Designer)
Frederick Kennedy (Sound Designer and Music Supervisor)
Catherine María Rodríguez (Production Dramaturg)
Catherine Sheehy; (Production Dramaturg)
Latiana (Lt) Gourzong (Technical Director)
Chantal Jean-Pierre (Vocal and Dialect Coach)
Rick Sordelet (Fight Director)
Cookie Jordan (Wig Designer)
Shelby North (Stage Manager)
The initial push from the scenic designer was that all of the elements on stage be "real" in the sense that they would not be "scenery", but the genuine article. This idea ran into a hard wall when it came to the design of the I-Beams which would be sprouting from the stage at odd angles. Initially specified to be W12 x 90 I-Beams, the theatre and stage itself would not be able to hold their estimated weight of 2,000# each. Not to mention how expensive they would be to procure. It was decided to then make them using traditional scenic methods: plywood, sheet metal, and paint.
Below is a gallery of production photos showing the I-Beams under stage conditions.
All production photos courtesy of Joan Marcus, 2018.
I-Beam technical Drafting
Behind the scenes photos of I-Beams as installed. Photos courtesy of Jon West, 2018.
Fabric Surround walls and Flying RP Wall
The largest parts of the scenery for Father... were also the least noticeable. Surrounding the stage were fabric panels on all 3 sides were stretched fabric panels. This fabric panel system consisted of 12" tall, 1x1 box tube truss with 1/4" MDF facing. The custom cut heavyweight muslin fabric was then stretched over the frames and attached to tension rods on the back with bungee balls.
Fun fact: the total sq. footage of all of the fabric walls and the RP was: ~5,000 sq ft.
Production photography courtesy of Joan Marcus, 2018 except as noted.
wall surround technical drafting
The Death of yazdgerd
Properties Master - 2017
By Bahram Beyzai
Translated by Manuchehr Anvar
Directed by Shadi Ghaheri
Michael Costagliola (Music Director and Sound Designer)
Mohsen Namjoo (Composer)
John Bondi-Ernoehazy (Scenic Designer)
Mika H. Eubanks (Costume Designer)
Samuel Kwan Chi Chan (Lighting Designer)
Yaara Bar (Projection Designer)
Iman Raad (Visual Artist and Muralist)
Ariel Sibert (Production Dramaturg)
Kevin Belcher (Technical Director)
John Carlin (Stage Manager);
The dead king
The entire show centers around the body of the dead King, so you cannot do this show without the body. As the Props Master, this was my charge. The body had to look, feel, and sound like a dead body, in addition to look similar to one of the main actors, James Udom. A typical stuffed muslin body would not do for this, so I purchased prop body from the best creepiest website, Dapper Cadaver. The body was modified to make it do what was needed of it; bending at the waist, bounce like a body, limbs articulate, sound like body when struck, etc.
All photos courtesy of T. Charles Erickson, 2017.
All photos courtesy of Jon West, 2017.
Assistant Sound Designer / Engineer
By Lynn Nottage
Directed by Joan MacIntosh
Jennifer Archibald (Choreographer)
Jessie Chen (Scenic Designer)
Beatrice Vena (Costume Designer)
Erin Earle Fleming (Lighting Designer)
Megumi Katayama (Sound Designer)
Christopher H. Evans (Projection Designer)
Sophie siegel-Warren (Production Dramaturg)
Dashiell Menard (Technical Director)
Olivia Plath (Stage Manager)
Assistant Sound Designer / Engineer
As the ASD/E, my role was to work with the designer and the production team to deliver the sound system that best fit the budgetary and space constraints of the production and space. I created System Block Diagrams and worked with the supremely talented sound staff to help deliver a working sound system from component parts.
The sound system utilized 22 boxes total, with UPA speakers for mains, SB18s for subwoofers, UB12s for surrounds, JF200 and 8XTs for ambient fill, and a practical TV and jukebox.
Photos courtesy of Courtney Jamison, 2017.