STAGECRAFT & SPECTACLE

PROJECT: THE FOOTLIGHT CLUB ROLE: Scenic Fabrication & Practical Electrics (Volunteer) LOCATION: Jamaica Plain, MA (Est. 1877)

THE OPERATION:

Supporting the oldest community theater in America requires a full toolkit. I served as part of the technical crew, providing structural carpentry and electrical modification to build the physical architecture for two distinct narratives:

• Cabaret: Structural Carpentry. Constructed the platforms and risers that formed the multi-level stage of the Kit Kat Club, ensuring the set could bear the weight of the choreography.

• Dr. Jekyll & Mr. Hyde: Prop Fabrication. Modified and wired standard lighting fixtures to simulate the glow of gaslight-era Victorian street lamps, blending modern safety with period aesthetics.

The Trade: Applying practical trade skills—framing and wiring—to support the suspension of disbelief.

PROJECT: GREEN DOOR LABS: CLUB DROSSELMEYER ROLE: Roustabout & Narrative Fabrication CLASSIFICATION: Immersive 1940s Interactive Theater

THE OPERATION:

Club Drosselmeyer (https://www.clubdrosselmeyer.com/) is an annual immersive production that blends swing-era nightlife with interactive puzzle-solving. My deployment covered both the narrative details and the physical load-in:

• Narrative Artifacts (The Memo): Designed and fabricated a diegetic WWII-era Army memo used as a key gameplay element. The document required period-accurate typography and voice to maintain immersion while delivering critical clues for the audience's puzzle-solving track.

• Roustabout Duties (The Load-In): Served on the pre-production heavy crew. Responsibilities included rigging, hoisting, and rapid set assembly to transform a modern venue into a 1940s nightclub.

The Trade: Ensuring the illusion holds up under scrutiny, whether the audience is reading a document or leaning on a set piece.

PROJECT: BUNKER HILL CC: SMALL MOUTH SOUNDS ROLE: Projection Design & Digital Scenography THE OPERATION:

Small Mouth Sounds is a narrative defined by silence. In the absence of dialogue, the environment must communicate the emotional weight of the scene.

I was tasked with conceptualizing and constructing the digital production part of the set not with wood, but with light.

• Digital Masonry: Designed a suite of large-scale abstract digital visuals to serve as the primary scenic architecture.

• Atmospheric Location: Rather than building literal sets, these projections suggested location and mood through texture and color, allowing the "place" to shift instantly without the friction of a physical scene change.

The Trade: Using high-lumen visual syntax to ground the actors in a constructed reality.