Designing for Tuacahn Amphitheater (A Three Part Series): Part Three – An Interview With Lighting Designer Cory Pattak
This is PART 3 of the series. To read PART 1 and PART 2, click the links. I complete my three-part...
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Design
Designing for Tuacahn Amphitheater (A Three Part Series): Part Two – An Interview With Projection Designer Steven Royal
For Part 1 see here. “I think that’s sort of the line I’m always hovering around; Does it feel...
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Designing for Tuacahn Amphitheater (A Three Part Series): Part One – An Interview With Set Designer Adam Koch
For Part 2 see here. Located in Southern Utah, the majestic Tuacahn Amphitheater has been the...
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Our Experiments: Upcycling in Theatre – An Interview with “Upcycling” Costume and Set Designer Reet Aus from Estonia
Reet Aus has spent her career in fashion and theatre committed to sustainability, where she’s...
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Out of the Darkness: A “Visit” with Lighting Designer Japhy Weideman
“That’s what we as lighting designers do – we observe, interpret, and find ways to recreate...
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Maintaining Whoville: Interview with Designers Chris Rynne and Shelly Williams
For the past twenty-three years, The Old Globe’s production of Dr. Seuss’ How The Grinch Stole...
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Shoebox Musicals: A Story of TikTok, The Pandemic, “Ratatouille The Musical”, And The Wizard Conquering Them All
Recently a friend sent me a message that read, “I’m not sure if you have TikTok, but...
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Of Wizards and Trolls: “Russian Troll Farm: A Workplace Comedy”
Co-workers Masha and Nikolai sit side by side in separate black boxes on my laptop screen. Their...
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The Best of All Possible Costumes: An Interview with Costume Designer Judith Dolan
In March 2020, Colden Lamb had the opportunity to sit down with award-winning costume designer...
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Designing “Soldiergirls”: When Truth is More Compelling than Fiction
On Monday, August 31st, 2020, Rattlestick Playwrights Theater presented a benefit concert...
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Disrupting The Flow: Artist Mark Chung Reflects On An Ailing Hong Kong
When you step into Wheezing, Mark Chung’s new show at de Sarthe Gallery, the first thing you...
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An Interview with Tim Minchin, Writer and Star of the New Australian Television Series: “Upright”
Upright, a new Australian television drama, co-written by and starring the multitalented Tim...
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To Screen or Not to Screen: A Digital Experience at Mixer
In these uncertain times, as distance has taken on special meaning, the screen has gained a...
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Meet The Masters Behind Hong Kong’s Most Extraordinary Bamboo Theatre
For generations, bamboo theatres have been a thread that ties together Hong Kong’s present and...
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Stage Design: Tradition of Diversity
Germany has more theatres and concert halls than almost any other country in the world. From its...
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The Mechanics of Crafting Transitions
For ensemble pieces in theatre, where actors never once leave the stage, what becomes...
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Lasting Friendships: An Interview with Philip Arnoult
When someone speaks about US and Hungarian theatrical relationships, you cannot miss his name....
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U.S. Architects to Build Splendid New Theater in Russia’s Perm
Designers have revealed renderings of their project that is to grace the Urals. American studio...
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Haruna Lee’s “Suicide Forest”
Suicide Forest, written by and starring Haruna Lee is a trippy meditation on the extremes of...
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Druid Shakespeare: “Richard III” – The Voracious Void
A series of questions filled my mind. What was the motivation behind the choice of sets and costumes? In my opinion, the only thing that really worked well set wise was the ever-present void on stage, the grave downstage in which all bodies were thrown in – a constant reminder of death and of Richard’s deeds.
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