director. DESIGner.
DESIGN - THE LITTLE PRINCE (NWCT, 2024)
costume design
In the summer of 2024, I had the immense pleasure to return to NWCT’s annual alumni production as a costume designer, but this time I also had the joy of participating as an actor. The playful, imaginative nature of The Little Prince inspired me to use rich, jewel tones paired with unique textures, such as velvet, chiffon, corduroy. Each costume has a different weight, representing—in my own costumey way—the exploration of childhood/adulthood, imagination/realism, and optimism/pessimism.
the snake
THE AVIATOR
THE FOX
(AKA ME!)
&
men on
the rose
planets
the little prince
DESIGN - 9 TO 5 THE MUSICAL
LIGHTING DESIGN
DIRECTING - 9 TO 5 THE MUSICAL
This show is the capstone representing everything I’ve learned as a young adult coming into my own as an artist, a leader, and a professional. We pushed the boundaries of what could be done with almost no resources, no financial support, and no rules. I worked with a 30+ person cast of all experience levels, a passionate creative team, and generous members of the University’s technical team to produce something that a) we are proud of, and b) provides a safe artistic space for everyone in the Musical Theatre Society at LHU, the program that I had the joy of leading.
There’s so much about this script and story that make it special—it explores womanhood, sexuality, power, strength, strife, and friendship—but it was the cast and crew made up of extraordinary people who made this project burst with life and passion. I am still reeling from the magic this was and I am incredibly grateful for the opportunity to explore what directing means to me.
9 to 5 was my second go at lighting design, and I had. So. Much. Fun. While the show would seem to have solely standard office looks, there are many times where it branches off into dream sequences, drug-induced psychosis, and heartfelt moments between character and audience. I felt like I truly got a grasp of both sides of what lighting design is, as well as lighting for a very simplified set.
design - the stinky cheese man (nwct, 2023)
My first professional Costume Design gig was the first annual alumni production at Northwest Children’s Theater, The Stinky Cheese Man. Due to the show’s scrappy nature, my plan for The Stinky Cheese Man was to emulate the feeling of a gaggle of children producing a play in their backyard. Overalls, hand-dyed colors, messy edges, and cartoonish/exaggerated shapes became the backbone of my design. I learned a lot about how costumes can be intertwined with other creative elements. I worked with set and prop designer John Ellingson to create a color palette of hand-dyed fabrics that were then utilized for the entire set, some props, and patches on every character’s base costume.
Additionally, the light and playful tone called for lightweight fabrics and blocky colors to avoid too much visual noise when an actor is wearing a costume on top of a costume, and the final product looks perfect—if perfect is a child’s chest of toys.
costume design
The stinky cheese man (and other fairly stupid tales)
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Full cast - base looks
Each character’s base look is informed by the various roles the play in the show within the show. Jack, on the far right, is the only character who actually is a fairytale charcter (Jack and the Beanstalk).
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red hen's lament
Throughout the show, the Red Hen’s boa gets increasingly glittery and bright. This is the final iteration.
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return of the cow patty - raw costumes
Cow Patty Boy and Jack are crushed by a cow patty. Run of the mill plot point.
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old man and old lady
While only appearing for one scene, Old Man and Old Lady make the biggest impact of them all—Making the Stinky Cheese Man in their oven.
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Cinderumplestiltskin
The title speaks for itself (or does it?)
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Ugly Duckling's Revenge
Pictured on the left and right of Ugly are her hype people.
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base look - jack
Jack’s look is simple and pays homage to the colors associated with the real fairytale. He is the director and visionary of the play within this show, and things go wrong when an unexpected visitor arrives… (it’s a Giant).
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the princess and the frog
There are multiple princesses in TSCM, and each one has a similar “princess costume”-style hat, the idea being that the cast does not really understand how else to depict royalty.
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the princess and the pea
Actually, she has a bowling ball, not a pea. Her hat matches the typical princess look, and the Prince has a simple cloak that makes him feel special. One of my favorite touches here is the king’s beard, which we created by braiding the actor’s real hair and tying it in front of her face.
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the sky is falling!
From left to right: Chicken Licken, Loosey Goosey, Ducky Lucky, Foxy Loxy, and Cochran Lockwood III. I designed these shawls using various tulle that coordinates with each animal.
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Jack and the surgeon general
It’s unclear whether this is a real, qualified Surgeon General or just a peeved Cow Patty Boy. Thus, cartoon-like details created a much less official look for the SG, especially the suspicious Cheese insignia I designed for the hat.
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base looks with full set
The set slowly falls apart throughout the course of the show, but the beginning resembles a fabric fort. This fabric was designed and hand-dyed with both set and costumes in mind by John Ellingson and myself.
