Clear Dramatic Choices: Reclaiming Our Imagination

Kevin McGerigle
Goddard 2015

Abstract-Clear Dramatic Choices: Reclaiming Our Imagination documents my

experiential study towards the MFA in Interdisciplinary Arts in a dramatic audiovisual narrative portfolio. The portfolio is comprised of a series of talks about my
hands-on exploration of theater design, direction and education. The portfolio also
contains reflections on my studies of educational, theatrical and artistic theories and
movements. The work is highlighted with video and still photography selections
from on stage and from the classroom. The work begins, ends, and is threaded
throughout with selections from my own musical theater composition For Sarah.
Clear Dramatic Choices: Reclaiming Imagination embodies an oral and visual
exploration of a living art form and practice.
Key Words- Theater Direction, Theater Design, Education, Musical Composition,
Imagination, Creativity
Artists StatementI am a theatric director, designer and educator. I discover total theater through the
use of light, sound, voice, image, text and physicality. I explore education through
personal agency, compassion and diverse personal intelligence. Theater is an art
form that exists between; it exists in the world of creativity. I hope to use art to
make people laugh, cry and feel compassion for themselves and others.
Table of contents-

Introduction

Key Terms
Artists Statement
Table of Contents

Interlude- For Sarah

Scene One- An Introduction
Personal Practice

My personal practice explores the topics of theater design, theater

direction, education, creativity and imagination. I function as college faculty
member teaching courses in technical theater, acting and theater history. As
a faculty member I also function as a producer and director for the many
productions. My practice is constantly informed through the power of
compassionate theater.

Works include (in order of appearance)

-Punk Play. By Gregory Moss. Clark University, Worcester. 2013. Performance.-Set and
light design by Kevin McGerigle.
-Grease. By Jim Jacobs and Warren Caey. Taunton High School, Taunton. Apr. 2012.
Set and light design by Kevin McGerigle.
- Cartoon. By Steve Yockey. Berkshire Community College, Pittsfield 2013.
Performance. Set and light design by Kevin McGerigle.
-- Julius Caesar. By William Shakespeare. Berkshire Community College, Pittsfield,
2014. Stage direction and design by Kevin McGerigle.

Interlude- For Sarah

Scene Two-On Theater

Rigorous Exploration Within the Context of Ones Art Practice
During my time at Goddard, I logged over 5,000 hours inside the walls of the theater. Not
included in this figure are the countless hours of study and teaching that took place during my
MFA studies. During this period I explored classic theater works, new works, ballet, musicals,
concerts, and experimental performance.

Works included (in order of appearance)

--Yeomen of the Guard. By Arthur Sullivan and W.S Gilbert. Highfield Theater,
Falmouth. Summer 2011. Performance. Set and light design by Kevin McGerigle.
-Titanic. By Maury Yeston and Peter Stone. Highfield Theater, Falmouth. Summer 2012.
Set and light design by Kevin McGerigle.
-Carousel. By Richard Rodgers and Oscar Hammerstein. Highfield Theater, Falmouth.
Set and light design by Kevin McGerigle.
-Punk Play. By Gregory Moss. Clark University, Worcester. 2013. Performance. Set and
light design by Kevin McGerigle.
-R.U.R. By Karel Capek. Boland Theater, Pittsfield. Fall 2012. Performance. Set and light
design by Kevin McGerigle.
-An Evening. By Jim Frangionie. K-111, Pittsfield. Feb. 2012. Performance. Set and light
design by Kevin McGerigle.
-Macbeth. By William Shakespeare. Braintree High School, Braintree. 2011. Direction
by Kevin McGerigle.
-Antigone. By Sophocles and Robert Fagles. Braintree High School, Braintree. Spring
2012. Performance. Stage Direction by Kevin McGerigle.
- Miss Julie. By Penny Penningston and August Strinberg Worcester, Clark University.
Performance. Set and light design by Kevin McGerigle.
-Monty Pythons Spamalot. By Eric Idol. Chicago. 2004. Performance. Set and light
design by Kevin McGerigle.
-The Producers. By Mel Brooks and Thomas Meehan. Boland Theater, Pittsfield. June
2012. Set and light design by Kevin McGerigle.

Interlude- For Sarah

Scene Three-On Education

Engagement with Praxis/Integration of Theory in Action
Each choice and action is constantly informed by a rigorous study of theory. Theory provides
guide posts to help us understand our place within the art world as a whole. Theory helps us
understand our future and past. Theory brings focus to the silences within our artistic work.
From classic Poetics to Total Theater, my current practice explores numerous avenues of
discourse within the diverse medium of theater and education.

Works included (order of appearance)

-Titanic. By Maury Yeston and Peter Stone. High Field Theater, Falmouth. Summer
2012. Set and light design by Kevin McGerigle.
-Brigadoon. By Alan J. Lerner and Fredrick Loewe. High Field Theater, Falmouth. 2011.
Performance. Set and light design by Kevin McGerigle.
-Yeomen of the Guard. By Arthur Sullivan and W.S Gilbert. High Field Theater,
Falmouth. Summer 2011. Performance. Set and light design by Kevin McGerigle
-H.M.S Pinafore. By Arthur Sullivan and W.S. Gillbert. High Field Theater, Falmouth.
Summer 2012. Set and light design by Kevin McGerigle.
-West Side Story. By Arthur Laurent, Leonard Bernstein, and Stephen Sondheim. 2012.
Set and light design by Kevin McGerigle.
-The Trestle at Pope Lick Creek. By Naomi Wallace. Clark University, Worcester. 2011
Set and light design by Kevin McGerigle.
-Punk Play. By Gregory Moss. Clark University, Worcester. 2013. Performance. Set and
light design by Kevin McGerigle.
-Columbinus. By Stephen Karam. Little Center, Worcester. Spring 2011. Performance
Set and light design by Kevin McGerigle.
-Carousel. By Richard Rodgers and Oscar Hammerstein. Highfield Theater, Falmouth.
2011. Set and light design by Kevin McGerigle.
-Tartuffe. By Moliere. Little Center, Worcester. 2013. Performance. Set and light design
by Kevin McGerigle.
-Like Sisters... By Ray Monroue. Little Center, Worcester. 2014. Performance. Set and
light design by Kevin McGerigle.

Interlude- For Sarah

Scene Four-On Practice

Works Included (in order of appearance)
-Brigadoon. By Alan J. Lerner and Fredrick Loewe. High Field Theater, Falmouth. 2011.
Performance. Set and light design by Kevin McGerigle.

-Soul Cry. By Laura Scott. Atwood Hall, Worcester, Mass. 2014. Performance. Set and
light design by Kevin McGerigle.
-R.U.R. By Karel Capek. Boland Theater, Pittsfield. Fall 2012. Performance. Set and light
design by Kevin McGerigle.
--Macbeth. By William Shakespeare. Braintree High School, Braintree. 2011. Stage
direction and design by Kevin McGerigle.
-Assassins. By Stephen Sondheim. Clark University, Worcester. 2012. Stage direction
and design by Kevin McGerigle.
-Dead Man's Cell Phone. By Sarah Ruhl. Boland Theater, Pittsfield. Fall 2012.
Performance. Set and light design by Kevin McGerigle.
-K.I.S.S.I.N.G. By Janelle Moiesly. Little Center, Worcester. Feb.-Mar. 2014. Set and
light design by Kevin McGerigle.
-The Little Match Girl. By Hans Anderson. Braintree High School, Braintree. 2011. Stage
direction and design by Kevin McGerigle.
-Show Boat. By Jerome Kern and Oscar Hammerstein. Highfield Theater, Falmouth.
2011 Set and light design by Kevin McGerigle.
-Yeomen of the Guard. By Arthur Sullivan and W.S Gilbert. Highfield Theater,
Falmouth. Summer 2011. Performance. Set and light design by Kevin McGerigle.

Scene Five: On Shadow

Works presented (order of appearance)
- A Streetcar Named Desire. By Tennessee Williams Berkshire Community College,
Pittsfield. Performance. Stage direction and design by Kevin McGerigle.

Interlude- For Sarah

Scene Six- On Compassion

Ethical Engagement & Thoughtful Action
Art has an enormous power to heal. As a theater artist, I believe it to be my responsibility to
bring tears and joy to my audience. My ethical engagement extends to my cast, crew, students
and audience members. Compassion is at the center of all of my work - we must always view
our work as a gift, to transform attention to ascension. I strive to raise the students, audience
and collaborators to new heights through thoughtful and compassionate actions.

Presented Works (order of appearance)

-Why Torture Is Wrong, and the People Who Love Them. By Christopher Durang.
Michelson Theater, Worcester. Spring 2012. Performance. Set and light design by Kevin
McGerigle.
- Cartoon. By Steve Yockey. Berkshire Community College, Pittsfield. Performance
2013. Set and light design by Kevin McGerigle.
-Monty Pythons Spamalot. By Eric Idol. Chicago. 2004. Performance. Set and light
design by Kevin McGerigle.
-Young Frankenstein. By Mel Brooks. Boland Theater, Pittsfield, Mass. 2014. Set and
light design Kevin McGerigle.
- The Tempest. By William Shakespeare. Clark University, Worcester. 2013
Performance. Set and light design by Kevin McGerigle.

-Love & Greed. By Jamuna Sirker. Boland Theater, Pittsfield. Feb. 2011. Performance.
Set and light design Kevin McGerigle.
- Miss Julie. By Penny Penningston and August Strinberg Worcester, Clark University.
Performance. Set and light design by Kevin McGerigle.

Interlude- For Sarah

Scene Seven: On Composition

Understanding the Concept of Interdisciplinary Art
Theater has the burden and the pleasure of complexity. Theater is an art from that exists between
the elements of performer, writer, director, designer and audience members. At the very root of
theater is an interdisciplinary art form. The burden is to maintain independence of disciplines
within theater; each element must stand on its own merits. Through the combination of
independent elements we are able to truly understand this interdisciplinary art. Within my
practice, I have explored writing, musical composition, three dimensional design, musical
performance and theatric design and direction.

Works included (order of appearance)

-The Nutcracker. By Pytor Tchaikovsky. Boland Theater, Pittsfield. Dec. 2014. Technical
Consultation by Kevin McGerigle
-Circus Electronica. By Dan Talmi. Boland Theater, Pittsfield. 2014. Performance.
Technical Consultation by Kevin McGerigle.
- Miss Julie. By Penny Penningston and August Strinberg Worcester, Clark University.
Performance. Set and light design by Kevin McGerigle.
- Julius Caesar. By William Shakespeare. Berkshire Community College, Pittsfield,
2014. Stage direction and design by Kevin McGerigle.
- A Streetcar Named Desire. By Tennessee Williams Berkshire Community College,
Pittsfield. Performance. Stage direction and design by Kevin McGerigle.

Works Cited
Adler, Stella. The Technique of Acting. Toronto: Bantam, 1988. Print. This book explores
the importance of physical objects in developing an acting technique. Adlers
method explores a simplistic layering of character choices with spatial truths.
Examples of this method can be seen throughout my Acting I class lectures and
activities.
Antigone. By Sophocles and Robert Fagles. Braintree High School, Braintree. Spring
2012. Performance. This play explores personal rights versus the rights of the
state as Antigone fights to bury her brothers. I functioned as the director for
this work. I was highly influenced by Theatre of the Oppressed in this
production.

Aristotle, and S. H. Butcher. Poetics. Mineola, NY: Dover Publications, 1997. Print. This
classic text is the foundation for my personal aesthetic and directorial style.
Poetics explores what makes a good theater. The understanding of cause and
effect, character study and the circular nature of story can be seen throughout
my work in A Streetcar Named Desire and Julius Caesar.
Assassins. By Stephen Sondheim. Clark University, Worcester. 2012. Performance.
Sondheims work explores the lives and actions of the infamous men and
women involved in assassinations on US Presidents. I functioned as the
director for this production. Following very closely the principles or Theatre of
the Oppressed, I looked for new hero. How can we celebrate the demons of our
historical past? This work was heavily influenced by Peter Brook's theories as
well.
Bachelard, Gaston, and M. Jolas. The Poetics of Space. Boston: Beacon, 1994. Print. This
book explores the profound effect of location and emotion, and how we are
able to give meaning to locations. From this book I discovered the importance
of how the development of our senses determines our permanent relationship
to location.
Ball, David, and Michael Langham. Backwards and Forwards: A Technical Manual for
Reading Plays. Carbondale: Southern Illinois UP, 1998. Print. This thorough
and pragmatic manual walks through the essential elements to a well-written
stage play. This work functions in companion with Poetics in my basis for play
analysis.
Barthes, Roland, Annette Lavers, and Colin Smith. Elements of Semiology. New York:
Hill and Wang, 1968. Print. This book is an overview of the classic semiotic
approach of Roland Barthes. This provides a counter point to the phenomena
based approach of Bert States, bringing to light the power of symbol and the
constant presences in theatric work.
Berger, John. Ways of Seeing. London: British Broadcasting, 1972. Print. This
companion book focuses on the perceptions that exist in the world today and
how they affect our views of art, and exploring the power of personal veil and
experience based perception. This book explores the personal world we each
create through the many events that shape our lives. From this book I
developed a directing approach that allows space for personal interpretation.
Examples of this can be seen in my work on A Streetcar Named Desire and
Julius Caesar.
Bernstein, Leonard. The Joy of Music. New York: Simon and Schuster, 1959. Print. This
book explores the futility of using words to describe music or more precisely
the task of describing an art form outside of the original medium. This book
was central to my conceptualizing this portfolio as a theatrical work.
Boal, Augusto. Theatre of the Oppressed. London: Pluto, 2008. Print. This book plays an
important counter role to Poetics in my analysis. We cannot know a thing till it
resists us. Theatre of the Oppressed is crucial in finding and understanding
modern tension to the classic Poetic style. This work heavily influenced my
design work on Cartoon.
Bogart, Anne. A Director Prepares: Seven Essays on Art and Theatre. London:
Routledge, 2001. Print. Anne Bogart has become a major touch stone for my
direction style. Anne Bogart explores theater as a physical being that allows for
audience interpretation. Anne Bogarts View Points is the central method by
which I work with actors in exploring the importance of space. Her work was
influential in my design and direction of Julius Caesar.
Brigadoon. By Alan J. Lerner and Fredrick Loewe. High Field Theater, Falmouth. 2011.
Performance. This Lerner and Lowe classic tells the tale of a mythic village

that appears once every 200 years in the highlands of Scotland. I functioned as
the Set and Light Designer for this production. My design was heavily
influenced by the work of George Tyspin and his study of strong line.
Brook, Peter. The Empty Space. New York: Atheneum, 1968. Print. This book brought to
light an important realization what theatre is not. This work was a major step
forward in my understanding of interdisciplinary art and how we must truly
understand each element prior to understanding how they come together. His
work was highly influential in my design of Tartuffe.
Brown, Bren. The Gifts of Imperfection: Let Go of Who You Think You're Supposed to
Be and Embrace Who You Are. Center City, MN: Hazelden, 2010. Print. This
book focuses on shame and vulnerability, and how we can only be vulnerable
if we feel worthy of others attention and love. This book was essential in
establishing effective rehearsal space for all of my productions.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan UP, 1961. Print.
This book explores the importance of what is not present. The space that
silence holds is as essential if not more essential than the space noise holds.
This book helped me find beauty and artistic importance in each and every
element. For me this transformed the way in which I used blackouts throughout
my work.
Cameron, Julia. The Artist's Way: A Spiritual Path to Higher Creativity. New York: J.P.
Tarcher/Putnam, 2002. Print. This holistic crash course looks to discover and
remove the major elements of negativity that hinder artists. This work helped
provide an outline for a number of courses I teach.
Campbell, Joseph. The Hero with a Thousand Faces. Novato, CA: New World Library,
2008. Print. This classic work combines myth with modern psychological
analysis. This book played a crucial role in my design of Like Sisters
attempting to string together archetypal characters.
Carousel. By Richard Rodgers and Oscar Hammerstein. Highfield Theater, Falmouth.
Summer 2012. Performance. The 1945 work was adapted from Ferenc
Molnr's 1909 play Liliom, transplanting its Budapest setting to the Maine
coastline. The story revolves around carousel barker Billy Bigelow, whose
romance with millworker Julie Jordan comes at the price of both their jobs. I
functioned as the light and set designer as well as the technical director.
Chekhov, Anton Pavlovich, and Randall Jarrell. The Three Sisters. New York:
Macmillan, 1969. Print. This play tells of the end of an estate as three sisters
struggle with the familys downfall. This play functioned as the basis for Like
Sisters
Circus Electronica. By Dan Talmi. Boland Theater, Pittsfield. 2014. Performance. This
circus rave fusion work tells a futuristic Alice in Wonderland tale of
exploration and wonder. I functioned as a technical consultant and dramaturge
for this nationally touring production. My work was heavily inspired by classic
poetics and David Balls play deconstruction.
Columbinus. By Stephen Karam. Little Center, Worcester. Spring 2011. Performance.
This play follows the events of the Columbine shootings using excerpts from
911 call and reports. I functioned as the lighting designer.
Covey, Stephen. The 7 Habits of Highly Effective People. London: Simon & Schuster,
1999. Print. This modern bible of self-help, discovers principles by which a
person can take control of their life. I attempt to include the major principles of
this book into all of my classwork, rehearsal space and building calls. This
book explores the importance of proactivity, communication and effective
listening.

Csikszentmihalyi, Mihaly. Finding Flow: The Psychology of Engagement with Everyday

Life. New York: Basic, 1997. Print. This book provided the steps and theory
necessary to explore the concept of flow. Flow is a state of mind in which we
are completely absorbed in the task at hand. This book is central to my
classroom management and rehearsal structure. This book helped to create a
rehearsal space in which students are driven to create more work rather than
analysis previous attempts.
Dead Man's Cell Phone. By Sarah Ruhl. Boland Theater, Pittsfield. Fall 2012.
Performance. This play tell the story of a dead man and his cell phone.
Exploring the role communication plays in our relationships. I functioned as
the set and light designer.
Dewey, John. Art as Experience. New York: Minton, Balch, 1934. Print. This book is a
classic on the development of the modern educational system. It can be seen
throughout my teaching philosophy and functioned as a ground level to my
growth as an educator.
Donnellan, Declan. The Actor and the Target. St. Paul, MN: Theatre Communications
Group, 2002. Print. This book brings to light the absolute focus need for clear
communicative acting. This simplistic approach when paired with View
Points functions as the core principles by which I teach acting in a College
setting.
Duhigg, Charles. The Power of Habit: Why We Do What We Do in Life and Business.
New York: Random House, 2012. Print. This pop-psych book delves into the
importance and power of habit, discussing the powers and dangers of effective
habits. When dealing with the complicated art form of theater proper habits are
crucial to improvement and growth.
An Evening. By Jim Frangionie. K-111, Pittsfield. Feb. 2012. Performance. This
collection of short plays by was written and directed by Jim Frangionie. The
works all centered on a unique view of family life. I functioned as the set and
light, sound and projection designer as well as the technical director.
Foreman, Richard. Unbalancing Acts. Theatre Communications Group, 2010. Print. This
book delves into the work of Richard Foreman. He explores the concept of
split focus and our ever changing minds and his attempts to find a way to avoid
the convergence of ideas.
Freire, P. Pedagogy of the Oppressed. New York: Bloomsbury, 2012. Print. This classic
text brings to light the importance of creating new roles in education.
Gardner, Howard. Frames of Mind: The Theory of Multiple Intelligences. New York:
Basic, 1983. Print. This book is one of the first to discover the importance of
multiple intelligences. Gardners studies discovered that human intelligence
can be divided into frames of mind such as but not limited to spatial
intelligence, interpersonal intelligence and kinesthetic intelligence. This book
was crucial in development of my portfolio in determining that my personal
frame of mind is not written but rather visual and auditory thus a nontraditional portfolio form.
Grease. By Jim Jacobs and Warren Caey. Taunton High School, Taunton. Apr. 2012.
Performance. Grease is a 1971 musical by Jim Jacobs and Warren Casey. The
musical is named for the 1950s United States working-class youth subculture
known as greasers. The musical is set in 1959 at fictional Rydell High School
based on Chicago, Illinois. I functioned as the set and light designer.
Grotowski, Jerzy. Towards a Poor Theatre. New York: Simon and Schuster, 1968. Print.
This book seeks to find tension within the current theater world by removing
all that is superfluous. Grotowski seeks to close the gap between performer and

audience, attempting to pair away all that is unnecessary in theatric

performances. These principles are central to my design on Julius Caesar.
Hannah, Gail Greet. Elements of Design: Rowena Reed Kostellow and the Structure of
Visual Relationships. New York: Princeton Architectural, 2002. Print.
Kostellows theories explore minimalistic design that focuses on the
relationship of three objects in space, how each element draws attention,
creates conflict or adds complexity. The theory of dominant, sub-dominant
and subordinate is at the center of all my work. My design firmly explores the
power of simplicity and minimalism. This theory can be seen heavily in my
design work for The Tempest and Miss Julie.
Hawking, S. W. A Brief History of Time: From the Big Bang to Black Holes. Toronto:
Bantam, 1988. Print. This brief adventure into the elegant questions of the
universe provides a uniquely simple approach to understand the great
unknown. This book sparked my interest in universal laws that rule both art
and science.
H.M.S Pinafore. By Arthur Sullivan and W.S. Gillbert. Highfield Theater, Falmouth.
Summer 2012. Performance. The story takes place aboard the British ship
HMS Pinafore. The captain's daughter, Josephine, is in love with a lower-class
sailor, Ralph Rackstraw, although her father intends her to marry Sir Joseph
Porter, the First Lord of the Admiralty. The captain discovers this plan, but, as
in many of the Gilbert and Sullivan operas, a surprise disclosure changes
things dramatically near the end of the story. I functioned as the light and
sound designer as well as the technical director.
Hooks, Bell. Teaching to Transgress: Education as the Practice of Freedom. New York:
Routledge, 1994. Print. This book focuses on the great chances a teacher must
take for a truly open classroom. The focus we must have on questions rather
than answers. This book is a major influence in the structure of my classrooms
as well as my rehearsals.
Jones, Robert Edmond. The Dramatic Imagination: Reflections and Speculations on the
Art of the Theatre: (9. Printing). New York: Theatre Arts, 1970. Print. This
book provides clear and brief instruction for young designers. Exploring the
goals and purpose of theatric design and in particular the role of design in
storytelling. The craft of design shapes the world in which we experience these
tales of the stage.
King, Stephen. On Writing: A Memoir of the Craft. New York: Scribner, 2000. Print.
This blunt auto-biography training manual provides effective insight into the
process of one of America's most consistent authors. His work ethic provided a
ground work for establishing a personal philosophy of practice.
Kirby, E. T. Total Theatre: A Critical Anthology. New York: Dutton, 1969. Print. This
book provides a collection of Essays that cover the Total Theatre movement
from Wagner till the 1980s. This book played a major role in understanding
my work on A Streetcar Named Desire within the context of the larger theatric
world.
Lecoq, Jacques, Jean-Gabriel Carasso, and Jean-Claude Lallias. The Moving Body:
Teaching Creative Theatre. New York: Routledge, 2001. Print. This book
explores the importance of dramatic space. From this simple concept I begin
all of my staging: how can we use space in a clear dramatic manner. When
working on Julius Caesar I posed this question for each and every blocking
choice?
Lee, Stan, and John Buscema. How to Draw Comics the Marvel Way. New York: Simon
and Schuster, 1978. Print. This short instructional piece contains a number of
sage gems on the importance of character and perspective. Reading this book

got me on the road to understanding how the core principles of great art stand
at the center of interdisciplinary work.
Like Sisters... By Ray Monroue. Little Center, Worcester. 2014. Performance. This
performance explored the elements of declining empire through the frame
work of Three Sisters. The play follows the three sisters as they travel between
major American moments of consumerism. I functioned as the set, light and
projection designer for this work. This work drew heavily upon my classic
poetics understanding as well as Richard Foremans theories on divergent
attention.
Linklater, Kristin. Freeing the Natural Voice: Imagery and Art in the Practice of Voice
and Language. Hollywood, CA: Drama Pub., 2006. Print. This book explores
the power of the human voice, how the elements of volume, timbre and tempo
can create a beautiful symphony that raises the text into the realm of fantasy.
The Little Match Girl. By Hans Anderson. Braintree High School, Braintree. 2011.
Performance. This classic fairy tale tells us of a small girl force to leave her
home only to discover the beautiful world of dreams and fantasy. I functioned
as the director and designer for this production. My work was strongly
influenced by John Campbell Myth studies along with a focus on Balinese
shadow practice.
K.I.S.S.I.N.G. By Janelle Moiesly. Little Center, Worcester. Feb.-Mar. 2014.
Performance. This premier work explores what it means to grow in up an
ethnically diverse neighborhood, and explores the isolation of intelligence. I
functioned as the set and light designer as well as the technical director.
La Negrita. By Frania Romulus. Little Center, Worcester. Fall 2013. Performance. This
premier play explores the role of race in high schools in affluent towns. I
functioned as the set and light designer as well as the technical director.
Love & Greed. By Jamuna Sirker. Boland Theater, Pittsfield. Feb. 2011. Performance.
This Juke-box style Shakespeare play collected the stories of Shakespeare's
greatest women and had them all hang out at a bar. I functioned as the set and
light designer as well as the technical director.
Macbeth. By William Shakespeare. Braintree High School, Braintree. 2011.
Performance. This classic tells of a power couple who choose to tempt fate and
strike down a king, following them as the world crashes down around them. I
functioned as director for this production. My educational focus was on the
concepts of John Dewey and understanding art as clear communication with
students.
Mamet, David. True and False: Heresy and Common Sense for the Actor. New York:
Pantheon, 1997. Print. This text is a no-nonsense approach to theater, in which
actors are asked to provide a vessel for the text. I often return to this work as a
way to ground my developing theories when bringing them to the stage. I ask
myself does this additional development make it to the stage? If not then it has
no use.
Monty Pythons Spamalot. By Eric Idol. Chicago. 2004. Performance. This is a musical
adaptation of the classic movie. The musical tells the tale of King Arthur and
his Knights of the Round table as they search for the Holy Grail. This work
was performed at Berkshire Community College in 2013. I functioned as the
productions Light and Set Designer.
Nattiez, Jean Jacques. Music and Discourse: Toward a Semiology of Music. Princeton,
NJ: Princeton UP, 1990. Print. This books explores the role of poietic (Nattiez
own word for an artists intent) and aesthesic (his term for the audience
interpretation) in an exploration of the role of artist, audience and work. This

work led me to an examination of the path of communication between artist

and audience member as can be seen in A Streetcar Named Desire.
The Nutcracker. By Pytor Tchaikovsky. Boland Theater, Pittsfield. Dec. 2014.
Performance. This national touring show prepares for the tour at Boland
Theater. I functioned as a technical advisor for this production.
Penningston, Penny, and August Strindberg. Miss Julie. Vancouver: Talon, 2006. Print.
This play explores the role of master and servant, and mans constant urge to
climb and rise. This fresh translation adds a surprising feminine twist to this
classic play. Performed at Clark University Fall 2012.
The Producers. By Mel Brooks and Thomas Meehan. Boland Theater, Pittsfield. June
2012. Performance. This musical adaptation of the movie tells of two conmen
who try to write the worst musical in town. I functioned as set, light and sound
designer as well as performer in the role of Leo Bloom.
Puddicombe, Andy. Get Some Headspace: [10 Minutes Can Make All the Difference].
London: Hodder & Stoughton, 2012. Print. This informal but insightful text for
basic meditation functions as a stepping-stone for greater understanding of this
timeless practice.
Punk Play. By Gregory Moss. Clark University, Worcester. 2013. Performance.
Chronicles the punk era through the friendship of Duck and Roy as they
discover what it means to grow up during this time. I functioned as set and
light designer for this production. The set was designed with the intention of
being destroyed each night in order to bring to light the energy of the punk era.
Robinson, Ken. Out of Our Minds: Learning to Be Creative. Oxford: Capstone, 2001.
Print. This book provides a fresh modern take on the importance of creativity
in modern education. Most important is the authors proposal that the script is
not the play bringing to light the strange process of translating our art into a
written discourse. This book was the first major spark in my exploration at
Goddard.
R.U.R. By Karel Capek. Boland Theater, Pittsfield. Fall 2012. Performance. The play
begins in a factory that makes artificial people, called roboti (robots), out of
synthetic organic matter. R.U.R is dark but not without hope, and was
successful in its day in both Europe and the United States. I functioned as the
light, set, projection designer as well as the technical director.
Show Boat. By Jerome Kern and Oscar Hammerstein. Highfield Theater, Falmouth.
Summer 2011. Performance. Based on Edna Ferber's bestselling novel of the
same name, the musical follows the lives of the performers, stagehands, and
dock workers on the Cotton Blossom, a Mississippi River show boat, over
forty years, from 1887 to 1927. I functioned as the set and lights designer as
well as the technical director.
Schechner, Richard. Performance Studies: An Introduction. London: Routledge, 2002.
Print. This text book has been extremely insightful as to the root of
performance and its role in society. This book functions as the base on my
structured analysis of performance.
Shakespeare, William, Julius Caesar. Woodbury, NY: Barron's, 1985. Print. This play
tells of the murder of Julius Caesar and the downfall of the conspirators. This
work was performed at Berkshire Community College Fall 2014. I functioned
as the designer and stage director.
Shakespeare, William. The Tempest. Cambridge, UK: Cambridge UP, 2000. Print. This
play explores a mystical island controlled by Prospero as he seeks revenge
upon old companions. This work was performed at Clark University 2013. I
functioned as the Set and Light designer.

Shakespeare, William, and Jamuna Skierker. Love & Greed. 2013. Print. This jukebox
style review brings together the Shakespeare's great women. Performed at
Berkshire Community College 2013, I functioned as the set and light designer.
Shurtleff, Michael. Audition: Everything an Actor Needs to Know to Get the Part. New
York: Walker, 1978. Print. This work provided a clear set of guideposts that
allow an actor to check in with the over structure of the work. This book is
packed with insightful quotes and discussions.
Soul Cry. By Laura Scott. Atwood Hall, Worcester. 2014. Performance. This
performance follows the heart breaking tale of a girl sold into sex slavery and
her powerful journey to save herself and those she loves. I functioned as light
and projection designer for two productions of this power show. The show was
able to raise funds to help victims of sex trafficking.
States, Bert O. Great Reckonings in Little Rooms: On the Phenomenology of Theater.
Berkeley: U of California, 1985. Print. This book is a dense argument on the
separation of phenomenology of theater and semiotic theater approaches. It
also discusses how artistic theory is born from within previous theories.
Titanic. By Maury Yeston and Peter Stone. Highfield Theater, Falmouth. Summer 2012.
Performance. This musical follows the tragic sinking of the Titanic, exploring
the relationships that happen on each deck and class. This set design was a
major challenge in having to represent each of the unique spaces on the ship. I
functioned as the set and light designer as well as the technical director.
The Trestle at Pope Lick Creek. By Naomi Wallace. Clark University, Worcester. Winter
2010. Performance. This play tells the story of a family in the recession
looking to find a rush. I functioned as the lighting designer.
Tartuffe. By Moliere. Little Center, Worcester. 2013. Performance. This work tells of a
family and one man who attempts to steal their wealth but in the process they
all discover there are things far more important than money. I functioned as the
light and set designer for this production. The work was heavily based on
minimalist design.
Tharp, Twyla, and Mark Reiter. The Creative Habit: Learn It and Use It for Life : A
Practical Guide. New York: Simon & Schuster, 2003. Print. The semiautobiographical work discusses the importance of proper creative habits in
ones life style. Tharps opinions are honest and insightful.
Tuan, Yi-fu. Space and Place: The Perspective of Experience. Minneapolis: U of
Minnesota, 1977. Print. This work explores how we create a place from space,
and how through personal development we define the world around us.
Weston, Judith. Directing Actors: Creating Memorable Performances for Film and
Television. Studio City, CA: M. Wiese Productions, 1996. Print. A step by step
approach that focuses on playable direction that allows for a balance of
directorial vision and creativity from the actors.
West Side Story. By Arthur Laurents, Leonard Bernstein, and Stephen Sondheim.
Highfield Theater, Falmouth. Summer 2011. Performance. An American
musical with a libretto by Arthur Laurent, music by Leonard Bernstein, lyrics
by Stephen Sondheim, and conception and choreography by Jerome Robbins.
It was inspired by William Shakespeare's play Romeo and Juliet. I functioned
as the set designer and technical director.
Williams, Tennessee. A Streetcar Named Desire. New York: New Am. Lib., 1974. Print.
This play tells of a faded southern dame and her search for a friendly shoulder.
This classic tale of passion and desire is a delicate balance between text,
emotion and physicality. The work is dripping with aesthetic beauty.
Why Torture Is Wrong, and the People Who Love Them. By Christopher Durang.
Michelson Theater, Worcester. Spring 2012. Performance. This play is an

absurdist look at a first date with a suspected terrorist. As a designer this piece
was extremely difficult as the living room had to feel at one point natural but at
the next it needs to spin through time returning to the start of the work. The set
was a massive revolve with rooms that can shift and change. I functioned as
the set and light designer as well as the technical director.
Yockey, Steve. Cartoon. New York: Samuel French, 2008. Print. This wild and crazy
play takes place in an Animaniacs-esq universe and uses slapstick comedy to
discuss major political issues in North and South Korea.
Young, James Webb. A Technique for Producing Ideas. New York: McGraw-Hill, 2003.
Print. A brief but insightful look into the classic technique for producing
effective ideas set in the realm of classic advertisement.
Young Frankenstein. By Mel Brooks. Boland Theater, Pittsfield. 2014. Performance. The
production tells the story of Dr. Frankensteins grandson and how he brings the
old family business back to life. I functioned as the set and light designer for
this production. My work was heavily influenced by gothic art along with the
classic film.
Yeomen of the Guard. By Arthur Sullivan and W.S Gilbert. Highfield Theater, Falmouth.
Summer 2011. Performance. The opera is set in the Tower of London, during
the 16th century, and is the darkest, and perhaps most emotionally engaging, of
the Savoy Operas, ending with a broken-hearted main character and two very
reluctant engagements, rather than the usual numerous marriages. I functioned
as the set and light designer and the technical director.
Additional Resources
Apartment #416. By Hannah Yukon. Little Center, Worcester. Fall 2013. Performance.
This premier work explored the lives of college students living in an
apartment. I functioned as the set designer and technical director.
Cabaret. By John Kander and Fred Ebb. Little Center, Worcester. 2014. Performance.
This modern masterpiece explores Pre-World War II Berlin through the stories
of Sally Bowles. I functioned as the technical director and producer for this
work. Helping coordinate the effort of over 50 students and staff members.
The Chosen. By Chaim Potok. Barrington Stage Company, Pittsfield. Summer 2013.
Performance. The Chosen is set in the mid-Twentieth Century, in
Williamsburg, Brooklyn, New York City. The story takes place over a period
of six years, beginning in 1944 when the protagonists are fifteen years old. It is
set against the backdrop of the historical events of the time: the death of
President Roosevelt, the end of World War II, the revelation of the Holocaust
in Europe, and the struggle for the creation of the state of Israel
Clark New Play Festival. Little Center, Worcester. 2013. Performance. I functioned as
the designer and technical director for 6 premier works during the festival. My
design was based on Kostellows theories. In an attempt to explore dominant
and subdominant design elements.
The Clean House. By Sarah Ruhl. Clark University, Worcester. Spring 2013.
Performance. A play by Sarah Ruhl, which premiered in 2004 at Yale
Repertory Theatre and has since been produced in many American cities. The
play is a whimsical romantic comedy centered on Matilde, a Brazilian cleaning
woman who would rather be a comedian. I functioned as a technical consultant
and producers for this production.
Crime and Punishment. By Curt Columbus and Fyodor Dostoyevsky. Brown Trinity Rep,
Providence. Spring 201. Performance. This stage adaptation condensed the
work down to a one act exploration of the moral ambiguity of actions and law.

The Crucible. By Athur Miller. Brown Trinity Rep, Providence. Spring 2013.
Performance. A 1953 play by the American Arthur Miller. It is a dramatized
and partially fictionalized story of the Salem witch trials that took place in the
Province of Massachusetts Bay during 1692 and 1693. Miller wrote the play as
an allegory of McCarthyism, when the U.S. government blacklisted accused
communists.
Educating Rita. By Willy Russell. Huntington Theater, Boston. Autumn 20113.
Performance. The play follows the relationship between a young working class
hairdresser and Frank, a middle-aged university lecturer, during the course of a
year.
Finding Nemo. By Robert Lopez and Kristen Anderson-Lopez. Walt Disney World,
Orlando. Aug. 2014. Performance. Tells the story of the overprotective
clownfish named Marlin who, along with a regal tang named Dory , searches
for his abducted son Nemo all the way to Sydney Harbour. Along the way,
Marlin learns to take risks and let Nemo take care of himself. This stage
adaptation was directed by Peter Brosius.
Finding Never Land. By James Grahmn. A.R.T, Boston. Fall 2015. Performance. This
performance is a Broadway bound adaptation of the movie of the same title.
The work explores the power of imagination and story telling.
A Fine Romance. By Wyndham Maxwell. Little Center, Worcester. Fall 2013.
Performance. This premier play explored the relationships behind a Broadway
song writing team. I functioned as the set designer and technical director.
The Glass Menagerie. By Tennessee Williams. A.R.T, Boston. Spring 2013.
Performance. A four-character memory play by Tennessee Williams which
premiered in 1944 and catapulted Williams from obscurity to fame. The play
has strong autobiographical elements, featuring characters based on Williams
himself, his histrionic mother, and his mentally fragile sister Laura.
Guy Code. By Brendan Toussaint. Little Center, Worcester. Fall 2013. Performance. This
play examines the unwritten 'guy code' and how it guides men through high
school. I functioned as the set designer and technical director.
Invisible Man. By Ralph Ellison. The Huntington Theater, Boston. Spring 2013.
Performance. This play explores the classic novel of how a man can be eaten
by the world around him.
Kiss Me Kate. By Cole Porter. Barrington Stage Company, Pittsfield. Summer 2014.
Performance. This Cole Porter classic tells gives us the show behind the show,
as we see a taming of the shrew both on and off stage.
Melancholy Play. By Sarah Ruhl. Little Center, Worcester. Spring 2012. Performance.
This work explores the beauty of sadness and the great lengths we go to
achieve beauty. I functioned as a technical advisor for this work.
Period Piece. By Ava Molnar. Little Center, Worcester. Fall 2013. Performance. This
premier play focused on a time traveling coming of age story and how difficult
and fruitful the relationship between mothers and daughters can be. I
functioned as the set and light designer as well as the technical director.
A Raisin in the Sun. By Lorraine Hansberry. Huntington Theater, Boston. Spring 2013.
Performance. This production juxtaposed modern hip-hop with this classic
work exploring the role of family as one struggles to find success.
Rock On! Boland Theater, Pittsfield. 2014. Performance. I functioned as a designer and
faculty member for this summer camp and performance series. This camp
trains middle and high school students on the skills necessary to become a rock
star!
The Temporary Professor. By Leeve Cummings. Boland Theater, Pittsfield. 2013.
Performance. As Penelope struggles to find her place in a classic academic

structure, she explores what education really means. I functioned as producer

for the workshop premier of this production that explored the ever-shifting
culture of education. This production was an exciting process that acclimated
students to the professional reading practice.
When There's Nothing Left to Burn. By Clare Tassinari. Little Center, Worcester. Fall
2013. Performance. This premier play explores the ever-shifting college
relationships. I functioned as the set and light designer as well as the technical
director.