Featured Projects
VINEGAR TOM
Directed by CARYL CHURCHILL
Written by ALLIE MOSS
Stage Manager: alina novotny
Scenic Designer: Eleanor Williams
Costume Designer: Ting Xiong
Lighting Designer: Taylor Olson
Sound Designer: Harper Justus
Music Director/Composer: Kyle Blair, DMA
Vinegar Tom is two worlds colliding. One world contains a story of social control and the restriction of women. The other is a bright, loud, fuck-you, punk band serving as a Riot Grrl Greek Chorus.
Digitized vinyl meditation/environmental recordings make up the textural underscore of the play, with whispers and strings moving between episodic, disjointed scenes. These whispers were composed of text from the Malleus Maleficarum (1486), a witch-hunting guide book used for centuries to justify the torture and murder of women.
We also recorded an EP! With Churchill's original lyrics, composer Kyle Blair built eight songs with influences ranging from Poly Styrene, to Amy Lee, to Kate Bush- using a six-piece rock band to bring it to life.
As a dramaturgical nod to the shitty merch table at your buddy's concert, a number of CDs with a selection of original music from the show were given out on opening night.
Stay tuned for an official digital release.
Live mix by the wonderful Chloe Lias
The promise
Directed by Ludmila De Brito
Written by José Rivera
Stage Manager: Stephanie Carrizales
Scenic Designer: Eleanor Williams
Costume Designer: anabel olguin
Lighting Designer: Vida Huang
Sound Designer: Harper Justus
Choreographer: Jessica Ragsac
cultural consultant: nic Rodriguez-Villafañe
Dramturg: haïa B'chiri
Theatre Auntie: Siobhan brown
In Patchogue, NY, 1989, a Puerto Rican man tries to break his family's cycle of poverty by marrying his daughter, Lilia, to a rich man. The Promise shines light on the unsustainable nature of colonization and the human sacrifices in the middle of it all.
Our dreams are too large to be contained, in this play, psychology explodes in the form of theatricality. This is what Magical Realism is in Latin America, a tool for resistance.
This is a story about colonial violence, about the patterns of dominance against women and the land, and at its core, it is a love letter to those who have had their homelands colonized, an acknowledgment of the sacrifices that are made every day in order to survive in this country.
नेहा AND NEEL
Directed by Rosie Glen-Lambert
Written by Ankita Raturi
Stage Manager: Katherine Davis
Scenic Designer: Raphael Mischler
Costume Designer: Anabel Olguin
Lighting Designer: Shelby Thach
Sound Designer: Harper Justus
Dramaturg: Rishika Mehrishi
Neha (नेहा) fears she has failed to pass her language and culture down to her seventeen-year-old son, Neel (नील) and a summer trip to visit colleges could be Neha’s last chance!
नेहा & Neel asks what we lose with every generation in America, and if it’s ever too late to connect with your roots.
As a visual exercise in scale and dimension, sound must create and move between contexts and environments at breakneck speed.
The scenery being a visual exercise in scale and dimension, sound must create and move between contexts and environments at breakneck speed. From the home, to the car, the airport, to the car, to the restaurant, to the car, to the gas station, to the car, to a college tour, to the car, to the hotel, to the car, to the other college tour, to the car- how does the sound of travel fill a space?
The ferryman
Directed by Kristianne Kurner
Written by Jez Butterworth
Stage Manager: Nathan waits
Scenic Designer: Doug cumming
Props Master: Alyssa Kane
Costume Designer: jojo siu
Lighting Designer: Annelise Salazar
Sound Designer: Harper Justus
cultural consultant: Amanda Doherty
Presented at New Village Arts for the first time since running on Broadway and the West End, The Ferryman asks what happens to a
family unit- and a community at large-
entrenched in generational violence. In the
thick of the Troubles in Northern Ireland, an eclectic (and massive) family must deal with
their carefully arranged walls of normalcy crumbling down and the past, present, and
future nearly imploding.
The screams, wails, and cries of the women of the cast were used to create the screaming Banshee that haunts the play and finally arrives in the final moments, overtaking the space and echoing around the home.
Dance Nation
Directed by Emily Moler
Written by Clare Barron
Stage Manager: Gillian Lelchuck
Choreographer: Mia Van Deloo
Scenic Designer: Raphael Mischler
Costume Designer: Zoe Trautmann
Lighting Designer: Shelby Thach
Sound Designer: Harper Justus
Composer: Salvador Zamora
Dramaturg: Tova petty
Cuteness is death. Pagan feral-ness and
ferocity are key.
Dance Nation is the journey of a preteen dance team competing to make it to Nationals in Florida while trying to discover who they truly are, who
they will become, and who they make themselves up to be. Weaponizing the resonant frequencies
of the space and the sounds evocative of and created by the human body- we attempted to capture all of the intensity, hope, rage, shame,
and extreme uncool-ness that comes with being a twelve-year-old girl.
Dance composition by the amazing Salvador Zamora.
Natasha, Pierre, and the great comet of 1812
Directed by Alan Patrick kenny
Written by Dave malloy
Stage Manager: Erin joy swank
Music director: brent Frederick
Technical Director: Luis silva & Nicole hankins
Scenic Designer: Chris reese
Props Master: julia lisowski
Costume Designer: Shirlee idzakovich
Lighting Designer: Jennifer fok
Sound Designer: Harper Justus
Dramaturg: Eryn Mcvey
Produced by the playwright's alma mater in tandem with Tantrum Theatre, our production of Comet was both the eastern premiere and the first collegiate production of the rock opera. With the cast and production team being a mix of AEA professionals and students, this show held a 16-speaker arrangement, a cast of 29, and a 19-piece orchestra.
Live mix by the outstanding Simon Marland.
Be head
Directed by David Haugen
Written by John Hendel
Stage Manager: Erin Galvin
Technical Director: Madi Hannon
Scenic Designer: Caroline Patterson
Props Master: Nick Bartleson
Costume Desinger: Chantel Booker
Lighting Designer: Alejandro Ridolfi
Sound Designer: Harper Justus
OBS Coordinator: Gabriel Hrin
Dramaturg: Laura Wininger
Produced entirely on Zoom during the COVID-19 pandemic, Be Head begs questions of power, class suppression, and revolt. With the story told through a fantasy lens, I opted to assign each character and their political aspirations a distinguishing genre of rock because, after all, nothing says revolution more than rock and roll.
Alongside the original compositions, I used the actors' voices (have you tried to hold a recording session over Zoom? it is fun!) to create a gross, gargley, guttural dreamscape in which the future of an entire kingdom was considered.
Pluto
Directed by Dustin Brown
Written by Steve yaki
Stage Manager: Raine DEdominici
Technical Director: Jaxon Medadows
Scenic Designer: Stephanie Kesterson
Props Master: Ariel Lacey
Costume Desinger: Maggie Hortsman and Cody Prell
Lighting Designer: Howard Leuthold
Sound Designers: Harper Justus and Abigail Coppock
Dramaturg: Jill Iverson
Pluto is a story of loss, pain, and the endurance of love. Our biggest question in the conception of Pluto was how to sonically exemplify this without drowning the world of the play. In collaboration with my co-designer, Abigail Coppock, I used harmonic, binaural beats and drones to bring us out of our world and a vibrational system installed in the set to shake the stage and bring us back down.
