This version of Lynn Nottage’s stunning play was focused on creating a feeling of isolation and loneliness that mirrors the experiences of the characters. All of the characters in the piece are reaching to break beyond the restraints that society has placed on them - be it race, religion, class, or gender. By crafting warm and centered but nostalgic and nearly photographic spaces we explored themes of isolation, memory, forgotten narratives and love.
Directed by Arin Arbus; Lighting Design by Chris D’Angelo; Costume Design by Rebecca Kanach; Photos by Ella Bromblin
Fall 2018; Hypokrit Theatre Company at Access Theater
R + J was set in a not-too-distant future in a society that has been purged of cisgender men. 25 years past the extermination of the male sex, the government is still relying on martial law for order amongst the factions. The Montagues, the militaristic warmongers who executed the extermination, and The Capulets, the controllers of information and media, fight to regain dominance against the tightening grip of the Sovereign State. In this world of turmoil, the heirs of each faction stumble upon each other and fall in unexpected, passionate love.
This version of R + J examines what happens when a new society relies upon the patriarchal structures of the past. Can a better world truly be imagined anew if it relies on old systems of power, money, and love? The piece explored mainstream feminism and those who are in danger of being left behind in its wake.
Directed by Molly Houlahan; Lighting Design by Dallas Estes; Costume Design by Lux Haac, Sound Design by Renee Yeong. Photos by Hunter Canning and Kyle Rosenberg
The Inferno Projects
THE INFERNO PROJECTS: LUST & GLUTTONY
Summer 2018; New Circle Theater Company at the Gene Frankel Theater
A collection of 8 new one act plays inspired by Dante’s Inferno and the themes of lust and gluttony.
In thinking about lust and gluttony, I was interested in the objectification of people, things, desires, and habits. This objectification often becomes heightened to the level of idolatry - we view our partners as images of perfection, we hoard and preserve the things we hold dear, we ascribe memories to objects. For me, a space that exemplifies this type of objectification and idolatry is a museum - where we relegate art, artifacts, historical items and cultural relics to be placed out of context and on pedestals. Museum exhibition techniques and storage spaces became the inspiration for the piece, communicating a subtle critique of the way in which we place absurd amounts of meaning and ultimately reductive ideals on the people and things in our lives.
Lighting Design by Kathrine Mitchell; Sound Design by Janet Bentley and Andy Cohen
LUST You Too? by Jan Jalenak; directed by Kayleigh Jacobs Wing Woman by Tetzlaff, Bowens and Owens; directed by Barbara Bosch Palace of Secrets by Jon Fraser; directed by Keith Greer ##Me/You by C.P. Goutman; directed by Janet Bentley
GLUTTONY Two And A Half Times by Catherine Allen; directed by Eric Nightengale Hunger Shame by Lori Goodman; directed by Brady Ness Consumption by Ed Valentine; directed by Melanie Armer Infinit-E by Bill Leavengood; directed by David Kronick
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Spring 2018; Jack Crystal Theater at NYU Tisch
This dance piece was a collaboration between three composers, two choreographers and three designers. The piece examined the way that our environments and life patterns encourage conformity and how hard finding individuality and identity in such a world can be. Ultimately, the piece follows four dancers as they discover themselves and alter their original environment.
Spring 2017; Paradise Factory with Theatre 4the People
At the turn of the 20th Century, Lou Salome was one of the most recognizable names in all of Europe. A century later, history has all but forgotten her story. As great a psychoanalyst as Freud, as great a philosopher as Nietzsche, as great a poet as Rilke — this world premiere explored the woman behind some of the most famous minds in Europe.
Lighting Design by Becky Heisler; Sound Design by Almeda Beynon; Costume Design by Katja Andreiev; Photos by Jody Christopherson
Onstage Blog: "Besides the archival materials sprinkled around, the set design by Marisa Kaugars consists only of a heavy desk filled with books.Salome spent most of her life fighting against the prejudices of the patriarchal society and redefining female sexuality, both through her work and personal life. Books, letters and photographs with different men seem like an appropriate aftermath of the philosopher’s life."
New York Theater Review: "Director Heaney and her design team ably adapt the small space of the Paradise factory, with Marisa Kaugars’ scenic design efficiently covering the whole of Salome’s lifespan by hanging letters and photographs from the ceiling of the theater, letting the entirety of Lou’s life rain down upon the production."
Spring 2017; Hudson Guild Winterfest
In a world where pussys are kept quiet, shrunk and kept indoors, could the outside survive if the felines burst out of their bags? Planet Maata is in danger, and its the duty of three feral witches to get the job undone. Inspired by current events, this short piece was intended to inspire, motivate and incite conversation.
Scenic and Costume Design
Fall 2016; The Araca Projects, NYC
In an impossibly perfect kingdom, Princess and Prince encounter something wholly unfamiliar on the eve of their wedding: doubt. When the world as they know it goes up in smoke, Princess and Prince, King and Queen, dragons and witches are left to struggle with how and what to rebuild from the ashes.
The Tell Tale Heart
February 2015; Yale Whitney Theater
A devised work that was also a senior project, the show was an adaptation of Poe’s short story, The Tell Tale Heart. Emphasizing a distinction between the naturalistic world of the Man character and the theatrical world of the orchestra and audience while also examining the relationship between the whole and the individual, the costumes alluded to both the industrial nature of the theater space and to the concert world of a string orchestra.
Directed by Jessica Miller; Music Directed by Phil Jameson; Lighting Design by Asher Young; Scenic Design by Margaret Gleberman
Senior Thesis Project for Tim Creavin
A Midsummer Night's Dream
February 2014; Yale Dramatic Association
This Shakespeare classic was turned upside down by examining how and what we dream. Beginning with a tableau, the viewer was pulled deeper and deeper into the dreamscape, with elements of the tableau re-appearing in the dream in altered ways. The costumes thus followed this pattern--the pages of a book became a skirt while a wheelchair transformed into an exaggerated hoop skirt. The dream thus exploded--and then pulled us back to an altered reality with a return to a shifted tableau.
Directed by Stephen Kaliski; Scenic Design by Jason Sherwood; Lighting Design by Christina Watanabe
Measure for Measure
Fall 2012; Yale Dramatic Association
A dystopian take on a Shakespearean classic, the production drew influences from Amsterdam, Russian constructivism and the dystopian films prevalent in current pop culture. The show required the construction of some unusual items, such as a chain mail skirt and a cage-like veil.
Directed by Alexi Sargeant; Lighting Design by Javier Cienfuegos; Scenic Design by Jonah Coe-Scharff
Summer 2014; Teatro Circulo, NYC
A late 90’s tale of one family’s struggle with their son’s AIDS diagnosis, the play examines family relationships and dysfunctions as well as the social, cultural and political ramifications of the AIDS epidemic. Through the construction of a T-Rex in the living room the son begins to come to terms with his diagnosis. In the process he destroys those closest to him, infecting his sister’s fiance with HIV and enabling her to suicide, while poisoning his alcoholic mother and accusing his father of abuse.
Directed by Stephen Kaliski; Lighting Design by Jessica Greenberg; Scenic Design by Peri Grabin; Sound Design by Adam Salberg
Fall 2013; Yale Dramatic Association
An everyday look at the characters in your average town, the show required careful attention to character detail and the crafting of each town personality. The design was based on historical research of occupations--the mechanic, librarian, landscaper and so forth--and the evolution of their appearance across the decades.
Directed by Kyle Yoder; Lighting Design by Hillary Luong; Scenic Design by Shoshi Bieler
Castor et Pollux
Spring 2013; Opera Theater of Yale College
This French Opera was staged with minimal set and integrated a large ballet company, requiring a careful attention and styling of costume. Done in a modernized baroque style, the opera became a tongue-in-cheek period piece.
Directed by Lara Panah-Izadi; Music Direction by Beau Gabriel; Lighting by Emma Brennan-Wydra, Scenic Design by Griffin Collier; Choreography by Amymarie Bartholomew