I started as a scenic painter in high school, and continued that throughout college. When my set design professor asked if I would be interested in designing a show, I said yes. During my first tech, seeing all the collaborations come together, was when I knew.
What brought you to New York City?
Graduate school at Tisch.
Tell me about your creative process. What do you look for in a first reading of a script?
The first read is about letting any ideas come to you without judging them. Further reads get into more specifics like architecture, furniture, props etc.
How do you approach an indie show with limited time, labor and budget? Do you have any special techniques for maximizing artistic expression?
It's the same process whether a show is big or small. Let all the ideas flow among the creative team, and once those initial ideas are out, modify the design as necessary to meet budget and time requirements.
Tell me about THE LAW OF RETURN. How did you land on your final design?
The director, lighting designer and myself kept going through the play together while moving pieces around in the model. We kept cutting it up and moving pieces around until the design worked for all the scenes.
Is there anything the indie theatre community can do to make things easier for theatre designers? Anything you’d love to ask of producers, production managers, or artistic directors?
One of the most important things that help designers is technical support. The producers on this show have been great in putting that together for LAW OF RETURN. Set designers can do their best work when there is a good collaboration between them and the technical director, production manager, props designer, and paint shop.