Photo credits: Will Given, Justin Humphres. Video by Lily Bartenstein.
This piece played with unraveling costume, connection between performers and durational work. The projections were generated in ink drawings, inverted and layered and animated together on the floor.
The End Times, a play based in the experience of playwright Jesse Mu-En Shao, follows Tim, a young follower in a controlling religious sect. As he begins to question the Church, the charismatic leader, Nelson, appears to him as a voice in his head through the video design.
This piece explored the memories embedded in clothing, using garments as costume, props and scenery. Projection was layered over the garments and dancers from the front, above, and through a hand-held mini projector manipulated by the performers themselves.
Photos by Justin Humphres.
SCENIC & PROJECTION DESIGN
Photo credit: Jim Carmody
Radiance is a reimagining of Medea set in the 1950's, and utilizing a variety of sources for inspiration from Macbeth to Sheryl Sandberg. For this workshop production, I designed a flat cardboard kitchen as a projection surface. Projections of mediated witches invaded Maddie's life as it spiraled out of control, culminating in her suffocating of her daughter Jane in the oven.
ASSOCIATE PROJECTION DESIGN
ASSOCIATE PROJECTION DESIGN
Ether Dome chronicles the relationships between doctors and dentists who pioneered the use of laughing gas and ether for surgical anesthesia in New England in the mid 1800s.
This new play in development was co-produced by La Jolla Playhouse, Hartford Stage, and the Huntington Theatre Company in summer & fall of 2014, building on an initial production at the Alley Theatre in 2011.
As Associate Projection Designer for Ether Dome, I managed the mapping, animation, and cueing of content projected on the curved upstage wall of cabinetry for all three 2014 productions. In La Jolla and Hartford, the combination of thrust theatre spaces and the low-hanging dome hovering over center stage meant the projectors were mounted in the voms, cross focused on the upstage wall and creating challenging actor shadows to manage. At the Huntington, the proscenium space allowed us to project from the balcony rail, significantly improving the image.
For each transfer I used VectorWorks to model the potential projector options and positions for the creative team, and created these renderings to support our preferred choices, accounting for reduced content area due to the relationship to the dome height and the potential for content loss from the use of masks preventing projections from hitting actors and creating actor shadows.
These three videos represent transitions animated in After Effects and Watchout. The first video is the intro to the second scene, set against a theatrical backdrop for the presentation of laughing gas. The second is a transition from a gruesome surgery scene to a night-time scene of stargazing in the backyard of one of the scientists, Dr. Jackson. Third is a time-compressed rendering of the sunset which stretched over the final scene of the play, followed by the ending animation in which the pleiades constellation appears to Jackson.