My Little Toy Tractor


A Childhood Memory Hidden on the Set of The Trip to Bountiful
By Julian Wiles, Director and Co-scenic Designer


Directing The Trip to Bountiful brought back many memories for me. Like the 87-year-old Mrs. Watts, the central character in the play, I come from a long line of farmers myself. My grandparents were farmers, and like Mrs. Watt’s childhood home, their home fell into disrepair and eventually into ruin when Grandma and Granddaddy moved into a brand-new house my parents built for them when they were in their 80’s. It was just down the road from the two-bedroom wooden house where they had raised five children including my Mom. They did so in the midst of the great depression and though they lived in humble circumstances, my mother said they never were in want. As farmers they had fresh milk from their cows, vegetables from their massive garden and the warmth and love of each other to sustain them.
 
My mother and father were farmers too. They bought their farm and 1913 farm house in rural Calhoun County where I grew up on the day they brought me home from the hospital. As a farm boy, one of my first toys was a bright yellow and green cast iron riding John Deere tractor that my father bought for me. I plowed a lot of imaginary acres with this little tractor and remember taking my pet dogs and cats in rides around the barnyards, in the little wagon I pulled behind my tractor.
 
When Adam Jehle and I began working on the sets for The Trip to Bountiful, particularly, Mrs. Watt’s homeplace, I was looking for a way to jar the memory of Mrs. Watt’s son Ludie and to remind him of his long-ago childhood playing outside his grandparent’s old farmhouse. And so, when I visited our family farm some weeks ago, I came across my toy John Deere tractor. I found it dusty and abandoned in an old shed and I thought the memories it brings back to me might well be similar to those Ludie would feel if he came across his own childhood toy. I brought my little tractor back to the Dock Street and placed it on stage in the final scene. While this special token of my own childhood is only one small element of the overall set design, it represents the kind of special magical elements scene designers seek out to help tell a story and to give it special meaning. You can catch sight of my tractor in the final scene of The Trip To Bountiful. Like Mrs. Watts and her son Ludie, my little tractor has found its way home.



Performances of The Trip to Bountiful continue running March 7th – March 17th at the Historic Dock Street Theatre. For tickets, visit CharlestonStage.com.

Photo by @aleecesophia


Playwright, director, designer and educator, Julian Wiles, founded Charleston Stage in 1978 and led the company for 45 seasons until his retirement in 2023.
 
Wiles grew up on a farm in Fort Motte, SC, and studied history and theatre at the College of Charleston (B.A. 1974). He moved to North Carolina to pursue graduate work in theatre design receiving an M.F.A. in Dramatic Art from the University of North Carolina at Chapel Hill in 1976. He returned to Charleston and in 1978 founded Charleston Stage, the resident company of the Historic Dock Street Theatre, America’s first theatre. Under Wiles’s leadership, Charleston Stage has become one of the region’s largest and most respected performing arts institutions, producing over 120 professional performances annually and including an extensive education program reaching over 25,000 young people each year.
 
During his 45 year tenure as Founder and Producing Artistic Director, Wiles designed, directed and produced over 300 plays and musicals for Charleston Stage. He has written 34 original plays, musicals, and stage adaptations, eight of which are published by The Dramatic Publishing Company. Many of his original works, such as The Seat of Justice, Gershwin at Folly, Beneath the Sweetgrass Moon, Denmark Vesey, Insurrectionand JFK & Inga Binga celebrate the Lowcountry’s rich cultural heritage and history. More than 100 productions of Wiles’s published works have been performed across the United States and internationally.
 
Wiles received the National Youth Theatre Director’s Award in 1988, Charleston’s NAACP Special Recognition Award in 2004, The South Carolina Governor’s Award for the Arts in 2010, and was inducted into the SC Theatre Association’s Hall of Fame in 2018. In 2021, he was awarded the University of North Carolina’s Distinguished Alumnus Award.
 
In April 2024, Wiles will be inducted as a member of the College of Fellows of the American Theatre. The investiture of new members is under the auspices of the Education Department of the John F. Kennedy Center for the Performing Arts in Washington, D. C. Membership in the College of Fellows of the American Theatre is one of the highest honors bestowed on educators and professionals of America’s educational and theatre community.
 
For more information on his original works visit julianwiles.com.

Founder’s Favorite: A Gem of a Show

Photo by @aleecesophia


Dear Friends,

I am excited to be back at Charleton Stage as a guest director for The Trip to Bountiful, one of my very favorite plays. While I think everyone knows such well known and moving dramas as To Kill A Mockingbird, The Miracle Worker, and The Sound of Music, the American Theatre is full of hidden gems, amazing plays whose titles are not as well known. The Trip to Bountiful is certainly one of these wonderful hidden gems— despite having won numerous Tony, Emmy and Academy Awards over the years. The Trip to Bountiful is certainly a show not to be missed.

And the feisty lead character of 80 something year old, Mrs. Carrie Watts is one of the great roles in the American Theatre. Award-winning actors such as Geraldine Page and Cecily Tyson won acclaim for this role and here at Charleston Stage we have the wonderful 84-year-old veteran actress, Samille Basler, in this lead role. You will remember Samille from such memorable roles in my plays Helium and Gershwin at Folly, bringing side-splitting laughter to memorable comedies such as You Can’t Take it With You and Blithe Spirit, and moving audiences with her powerful performancesin The Glass Menagerie and To Kill A Mockingbird. Samille’s performance of Mrs. Carrie Watts in The Trip to Bountiful is one not to be missed.

I urge you to get your tickets today to this marvelous play by Pulitzer Prize-winning playwright, Horton Foote, best known for his Oscar winning screenplays for To Kill A Mockingbird and Tender Mercies.

It is a joy to return to my director’s chair once more, joining Samille and her terrific casemates as they bring this award-winning hidden gem to the Dock Street Theatre stage for the first time.

Get those tickets today!

Hope to see you at the theatre!

Julian Wiles, Founder and Director Emeritus


By HORTON FOOTE
Direction by JULIAN WILES 

Associate Sponsors:
Hewitt Family Fund of Coastal Community Foundation of SC
Dr. Del and Linda Schutte


Follow 80-year-old Mama Watts as she sets off on the adventure of a lifetime, determined to run away from her son’s cramped city apartment and controlling daughter-in-law and return to her home town of Bountiful, TX one last time. But what will she do when she’s stuck at a train station in the middle of the night, finding out the last resident of Bountiful, TX died two days ago? Watch as Mrs. Watts leans on new friends, fond memories and her steadfast faith to sing and dance her way through troubling times. This heartfelt Tony award-winning classic by Horton Foote, author of the award-winning screenplay To Kill a Mockingbird, asks the age-old questions; what is home, and can you ever really go home again?

Performances run February 28th – March 17th. For tickets, visit CharlestonStage.com.

Charleston Stage puts youth arts education in the spotlight

By Heather Rose Artushin • Lowcountry Parent

Charleston Stage prides itself on offering community-based educational programming to children in the Lowcountry. KATE THORNTON PHOTOGRAPHY


Walking by the historic Dock Street Theatre downtown Charleston, it’s no secret that the 215-year-old walls hold memories of sold-out performances of years past, many by Charleston Stage’s own resident actors.

But what the theater can’t hold is the community-based educational programming that Charleston Stage prides itself on offering to children in the Lowcountry.

Marybeth Clark, Artistic Director of Charleston Stage, began her work with the organization 25 years ago as the Director of Education. “I came in really to build the education program,” she said. “I think the biggest impact I had is what is now our resident actor program.”

Charleston Stage hires young actors ages 22-28 who have degrees in theater from universities all over the country. The 10 selected residents spend one year living in Charleston and working with Charleston Stage full-time, performing and teaching local youth. Residents undergo teacher training and are provided with structured lesson plans to offer the very best educational opportunities for children in the community.


Charleston Stage hires actors in their mid-20s to spend one year working full-time teaching arts education and theater classes to local children. KATE THORNTON PHOTOGRAPHY


“Especially during the school year, we are very process-oriented,” said Clark. “We focus more on the skills in the spring, and there’s a day when everybody performs. If you’re taking classes with us, we do have upper-level classes called troupe, and those are the kids we allow to audition for shows when it’s appropriate. They have to function like an adult in a show.”

Not every child is an aspiring actor, and no matter where life takes them, the skills they learn from their experience with Charleston Stage are invaluable

“It’s about children having a safe space where they can learn to share their thoughts, their emotions, and their stories,” shared Clark. “They also learn to receive another person’s thoughts, emotions, and stories, even if they are different from them. And that’s what art is – communicating ideas and feelings, and being able to receive them.”

Interpersonal skills, self-awareness, and organizational skills top the list of life lessons students have learned from Charleston Stage’s educational programs.

Charleston Stage’s summer class registration opens up in February, and is sure to fill up fast. “I have over 200 kids a week in classes here during the regular school year,” Clark explained. “We have a beautiful facility in West Ashley, the same studio where we rehearse our main stage shows, where we hold the classes.”

The students get to spend the last two days of the week-long camp experiencing onstage rehearsal and a final performance at the Pearl, a 130-seat theater in West Ashley.

During the pandemic, Clark and her team took the opportunity to reflect upon their educational programming, and how to reach more kids in the community.

“We’ve always had scholarships so that finances wouldn’t be an obstacle,” she said. “That was somewhat privileged on my part. The obstacle is time, transportation, and family commitment. They might not even have a car, and they can’t leave work to take their child to a 4 o’clock class, even if it is free.”


Charleston Stage, a professional theater organization that has been performing at the Dock Street Theatre since 1978, offers a host of education programs and classes to local children and schools. KATE THORNTON PHOTOGRAPHY


So, Charleston Stage began placing teachers in some of Charleston County School District’s Title I schools to offer the same classes during after-school programs that already exist. When some of the kids expressed curiosity about the studio in West Ashley, Charleston Stage got together funds to provide a bus to bring kids to weekend classes at the studio and back again to a central location.

Clark said in certain situations, teachers and parents are given tickets to take the bus to the theater to see a production and their children perform on stage.

The local theater group is intentional about making sure they bring on a diverse cast of resident actors to represent all the children in the audience, and the classroom.

“When we cast, I’m very mindful of finding actors that will reflect some of the children they’ll teach,” Clark said. “One of our male teachers went in to a school, and he’s African American, and one boy said, ‘Our hair matches!’ They didn’t know what theater was all about, but they started working together and fell in love with it.”

When you see the Dock Street Theatre on your next stroll through downtown, don’t forget that it is more than a historic building – it houses an organization committed to uplifting Charleston’s children through the arts.

“Our founder, who retired last year, started the company as a theater for youth, about education, and we have never let that mission go,” concluded Clark.

Visit charlestonstage.com to learn more about Charleston Stage’s educational programs.

To view article on Lowcountry Parent, CLICK HERE.

Behind the Curtain: Aline Toloto, Properties Designer of “A Christmas Carol”


Delighted to reconnect with Aline Toloto, the creative genius behind the enchanting props in our production of A CHRISTMAS CAROL. Her exceptional skills shine once more at the Dock Street Theatre, offering you an exclusive peek into the artistry behind the props for this timeless Dickens’ classic.


1) What inspired you to work on the props design for A CHRISTMAS CAROL, and how do you personally connect with the themes and atmosphere of this classic story?

The colorful and rich design of the set and costumes was a significant inspiration for the world of props. I love A CHRISTMAS CAROL! My first encounter with the story was through the movie when I was a kid. The reminder that life is too short, and, at the end of the day, what really matters is the people and the relationships you were able to cultivate through life is a message that will never get old.



2)  Props are essential in creating a believable world on stage. How did you approach research and gather inspiration to ensure the props in A CHRISTMAS CAROL were authentic to the time period and setting?

Fortunately, nowadays, research is much more accessible than before, which helps with the occasional time crunch we encounter while producing many productions simultaneously in the shop. My research process involves three steps. Initially, I delve into historical research, typically spanning not just the target year but also decades preceding it. My second step involves examining movie props and props from other productions. I find this valuable as it enables the audience to connect with the story on a different level, drawing on experiences they may have had before. The final step is to employ my design intuition to strike a balance between historical accuracy and what will aesthetically complement the overall production.


Watch A CHRISTMAS CAROL’s show trailer below!



3) Collaboration is key in the production process. Can you share insights into how you collaborated with the director and other members of the creative team to ensure that the props align with the overall vision for the production?

Absolutely, collaboration is the key to a successful theater production. I had a great collaboration with the set designer, for instance, to enhance the connection between Scrooge’s bedroom backdrop and the furniture that would occupy that space—the bed and the armchair. We discussed the color palette, selected fabric samples, and engaged in numerous back-and-forths, incorporating costumes and lighting into the discussion to ensure that every design element would be cohesive.



4) Given that A CHRISTMAS CAROL is a holiday classic, did you incorporate any holiday-themed props to enhance the festive atmosphere of the production? Can you provide examples?

In our approach to the production, we infused holiday magic into various furniture pieces and hand props. While not strictly historical, these details aimed to capture the essence of Christmas that resonates with audiences. We took every opportunity to adorn spaces with festive elements—whether it was adding a touch of red and gold bows or incorporating Christmas lights. Every available corner was utilized to infuse a holiday theme throughout the production.  


5) Attention to detail is crucial in prop design. Were there specific props in A CHRISTMAS CAROL that required extra attention to detail to ensure historical accuracy or thematic significance?

Absolutely! One notable example is the armchair used in Scrooge’s bedroom. The prop demanded extensive dedication from the team, requiring days of adjustments to ensure it functioned seamlessly. While I don’t want to give away too much to preserve the magic, I can assure you that once the audience sees it, they will understand the special significance of this prop. It underscores the belief that dedicating time and attention to even the briefest on-stage moments is always worthwhile.



6) Do you have any favorite prop creations in A CHRISTMAS CAROL that you are particularly proud of or that stand out as memorable?

My favorite prop has to be the dappled horse that accompanies the toy cart. The creation process was quite challenging, and I collaborated closely with the Prop Artisan, 
Hailee Selby. The end result was incredibly rewarding—having a beautiful and timeless dappled horse that truly stands out.


Get your tickets to see A CHRISTMAS CAROL, running December 14th – December 22nd, at CharlestonStage.com.

Originally from Brazil, Aline holds a Master of Fine Arts degree in Theatre and Technology with emphasis in Scenic Design from the University of Southern Mississippi. With extensive experience as a Prop Master, Scenic Designer, and Set Decorator, Aline’s career highlights include her role as Properties Supervisor for Charleston Stage’s 45th Season, overseeing eight captivating shows including The Addams Family, A Christmas Carol, and Once On This Island. She is thrilled to continue with the company for the next year.

Behind the Curtain: Caleb S. Garner, Lighting Designer for “A CHRISTMAS CAROL”


In an exclusive interview, we caught up with Caleb S. Garner, the mastermind behind the captivating lighting design at Dock Street Theatre for our latest rendition of A CHRISTMAS CAROL. Explore the intricacies of his artistic approach as he illuminates the magic of this timeless holiday classic!


1) What attracted you to work on the lighting design for A CHRISTMAS CAROL, and how do you personally connect with the themes and atmosphere of this classic story?

A CHRISTMAS CAROL has been a part of my life for as long as I remember. It was a Christmas tradition for my family, like it is for so many others. My favorite movie adaptation is actually the 1984 version George C. Scott as Scrooge. I love how that adaptation uses light to swap from the natural and supernatural and past, present, and future. Christmas Past had a hazy, dreamlike quality. Christmas Present was at times bright and cheerful, and at times stark and serious. Christmas Future was dark and smoky.  I am still enthralled with the ability of that adaptation to tell a great story through light, and I’m very excited to put my own spin on that great storytelling. 

As a church musician, I have spent a lot of time with texts about the Advent and Christmas season. A lesson that always stood out to me is that this season is not only about birth, but also redemption. It’s easy to forget that A CHRISTMAS CAROL isn’t just “cranky old man is frightened by ghosts and now loves Christmas.” Scrooge is a complex character. I think our production does a great job showing how he adapted through the course of his life, and how reconnecting with his past allows him to reclaim his future. The story reminds me of a poem by American theologian and civil rights leader, Howard Thurman, called “The Work of Christmas.” His idea of the “work” of Christmas are the lessons that Scrooge re-learns in order to open his heart and love again.

When the song of the angels is stilled,

When the star in the sky is gone,

When the kings and princes are home,

When the shepherds are back with their flocks,

The work of Christmas begins:

      To find the lost,

      To heal the broken,

      To feed the hungry,

      To release the prisoner,

      To rebuild the nations,

      To bring peace among the people,

      To make music in the heart.

That’s this production of A CHRISTMAS CAROLmaking music in the heart. I am very excited to share this Christmas gift with you all. 


2)  Lighting plays a crucial role in setting the mood for a production. How did you approach creating a lighting design that complements the narrative and enhances the emotional impact of a CHRISTMAS CAROL?

When we first met in 2022 to discuss this major reimagining of the production, playwright Julian Wiles talked about the need for vibrancy, color, and fun. We didn’t want to have a production that said, “this is Scrooge’s world, and everything is sad, dark, and empty.” We wanted a production that showed the audience all of the joy, compassion, and love that Scrooge was missing. 

It’s very easy to focus on Scrooge and the Ghosts and make a production that is dark and scary.  And I do use dark lighting with heavy blues and deep shadows to make the ghosts intense and impactful, but I also try to keep the colorful spirit of the production by using turquoises, deep magentas, and lavenders to give the ghosts a sense of mystery without it being bleak and depressing. I really loved this painting called “Purple Energies” by Swiss painter Fabien Bruttin as an inspiration for the ghosts – particularly Marley and Christmas Future.

“Purple Energies” by Fabien Bruttin


It was also important to keep the feeling of celebration throughout the play. I didn’t want every scene to feel like “London at night.” I wanted some variety and some more vibrant colors, so I chose pink-lavenders, light blues, oranges, and greens to make the world feel festive and new. It was important to Julian, Sam, and I that we avoided making the production look like a Victorian Christmas card. While they do have lots of colors, they were often faded, red-heavy, and a little too old-fashioned. We wanted whimsy and a wide array of color. I took inspiration from this picture of Covent Garden. See if you can spot some of these colors coming from the lights while watching! 

Covent Garden, London


3) Collaboration is key in the production process. Can you share insights into how you collaborated with the director and other members of the creative team to ensure that the lighting design aligns with the overall vision for the production?

The entire design team meets months in advance to establish and refine our world of the play so the audience gets a unified final product. We spend lots of time talking, researching, drawing, and sharing so we’re all on the same page about the vision for the production. We did do A Christmas Carol last season, but it was not as simple as unpacking it out of a box and putting it back onstage. Season 45’s production was fantastic, but each design area had several things we could improve. This included things like the placement of the backdrops, new furniture and props, new costume elements, and new magic tricks.

A new season also gives Charleston Stage new actors, which means that people with different body types, builds, and skin tones needed alterations for the existing costumes and new lighting colors that best enhanced their skin. While many things are similar this year, many things are also quite different. My lighting mentor, Craig Dettman, would say “same song, different verse.”

This production has lots of “tricks” that are associated with the Ghosts and their magic, and they all require careful coordination with the other design elements and direction to be done correctly. Scrooge’s tombstone in the graveyard sequence is one of my favorite examples. When scrooge first arrives in the graveyard, he does not realize that he is standing on his own grave; the tombstone before him is blank. Careful coordination between direction, scenery, and lights was able for us to magically reveal the word “SCROOGE” on the stone. Added sounds, fog, and gorgeous costume color-coordination help to create the incredibly powerful image of Scrooge realizing his fate. 

Now that I’ve been at Charleston Stage for several years, I’ve developed a great rapport and a kind of shorthand language with the the other staff. We’re regularly on the same page, and I really enjoy our discussions and collaborations. 


4) A CHRISTMAS CAROL has moments of both darkness and light. How did you balance the use of light and shadow to convey the various moods and themes throughout the production?

I always make sure that the lighting is fulfilling several different factors in each scene: Visibility, Mood, Revelation of Form, Punctuation, and Storytelling. 

Visibility is simply putting light where you want it, and removing light where you don’t need it. Mood is how light uses colors, angle, and textures to display emotions or atmosphere. There is always a fine balancing act of Mood and visibility, because often too much of one can harm the other. If the light is too dark, the audience struggles to understand the action onstage, but if the audience can see every single thing onstage, the atmosphere of the scene is compromised.

Revelation of form is how we light figures and objects onstage, giving us dimensionality. The way we reveal figures onstage also helps us to establish visibility and mood. For example, I light the ensemble singing “Joy To The World” in a totally different way than I light the Ghost of Christmas Future. 

Every sentence has some form of punctuation. The way that we light the end of a phrase onstage is just as important as the way the sentence ends on paper. When Marley is leaving Scrooge, the last line of the scene ends with an exclamation point – the lighting should absolutely do the same thing.  We don’t want a slow fade to black here; we want a zero-count blackout to end the scene with a bang!  

Storytelling is advancing the narrative, through use of the properties of light that we can control. These properties are intensity, distribution, angle, color, change, and movement. 

Careful consideration and combinations of these elements help us to create individual “looks” to give distinction to the various moments in the show. A lot of the balancing comes from experience and intuition. And a great relationship with the production team!


5) Were there specific scenes or moments in A CHRISTMAS CAROL where you intentionally used lighting to highlight key elements or emotions? Can you share examples of how lighting enhances the storytelling?

One of my favorite moments in the show is when we visit the song “A New Day Dawns.” This happens twice within the show, and each one is a major point in Scrooge’s life. 

The first time we experience the song, a young Scrooge is seeing his future fiancée, Belle, for the first time. I wanted the rest of the world to melt away so we can see Scrooge instantly fall in love. The lights pull down to young Scrooge and Belle as she sings the song. The presence of the other party guests is still felt because they are in a darker colored light, with a strong highlight around their silhouettes. This shows the general figures, but limits visibility on faces so the audience can focus on the love at first sight moment happening downstage. Old Scrooge and the Ghost of Christmas Past are still dimly lit, so the audience can also see Scrooge being re-acquainted with his humanity. 

This happens a second time in the last portion of the second act. Scrooge goes to his nephew Fred’s house to make amends, and meets Fred’s wife, Caroline. Caroline is singing “A New Day Dawns,” and is in the same position as Belle. Scrooge and Caroline recreate the moment when young Scrooge and Belle first meet. The lighting has a lovely pull-down in the same manner as before. It’s a really touching moment that shows Scrooge letting himself love again. 

I hope that the lighting shows the deeply personal moments with young Scrooge and Belle, and then Caroline and Scrooge with the tight pulldowns. The lights then open up to reveal the other characters, showing that they were there to see Scrooge’s character arc. 


6) The story of A CHRISTMAS CAROL spans different settings, from Scrooge’s office to the Cratchit household. How did you adapt the lighting design to create distinct atmospheres for each location?

Each set of characters have their own special color palettes. Scenic designer Susan Crabtree and I worked closely with costume designer Janine McCabe to make sure that each location had their own special color identity in the costumes, scenery, and lighting design. 

A great example can be seen in the Cratchit family and their home. We chose a purple/lavender color scheme to give the Cratchit’s their own identifiable traits as a family unit. The scenery has elements of the colors in the backdrop, and every character has their colors in the costumes. I light the scene with blues and lavenders so I can help to make the colors in the costumes and scenery really pop.

Be on the lookout for the different color schemes in the show! Each location and family has their own special collection of colors!


7) Do you have any favorite lighting effects or techniques used in A CHRISTMAS CAROL that you are particularly proud of or that stand out as memorable?

Each year I try and incorporate a few new elements into the production to make it even more interesting. This year makes the debut of two brand new fog machines. You will never see them, but you will absolutely see the fog! These are called Ultrasonic Mist foggers, and they get the same effect as dry ice fog without the need for dry ice and 350 pounds of water. These foggers use an ultrasonic membrane that vibrates rapidly at high speeds in a tank of water.  The water is agitated apart into individual droplets with the size of approximately 3 – 5 microns, vaporizing into the air to form a thick fog. It’s very scientific, and it’s very cool. Chances are you already have this technology in your house. If you have a “cool mist humidifier,” you have the same ultrasonic technology in a smaller scale!


Get your tickets to see A CHRISTMAS CAROL, running December 7th – December 22nd, at CharlestonStage.com.

Caleb S. Garner is a lighting and sound designer based in Charleston, SC. A North Carolina native, Caleb received his B.A. and B.F.A. from Catawba College in Salisbury NC, and his M.F.A. from the University of Southern Mississippi. Garner’s designs, ranging from concerts to ballets to musicals to plays have earned him eight regional and national design awards. Caleb has been a featured designer from New York to Mississippi, designing in the Northeast, Midwest, East Coast and Deep South. Caleb enjoys turning large pieces of wood into smaller pieces of wood (sometimes mistakenly called furniture), screaming with students (often recognized as teaching), and playing with things that spark and smoke. Caleb currently serves as the Resident Lighting Designer at the Charleston Stage Company and serves as an adjunct lecturer at the College of Charleston.

Behind the Curtain: K’nique Eichelberger, Choreographer for “A CHRISTMAS CAROL”


Explore the intricate details of K’nique Eichelberger’s artistic approach as the Choreographer for A CHRISTMAS CAROL in this special interview. Get ready for another season of excitement as K’nique’s exceptional work takes center stage, becoming a major highlight once again in this year’s adaptation of the timeless classic!


1) A CHRISTMAS CAROL is a holiday classic. How did you approach infusing choreography with the festive spirit of the season while still conveying the deeper themes of the story?

Christmas is a holiday where families come together to express love, kindness, and joy. In my choreography you will see the joy or excitement in every move. This is not your traditional A CHRISTMAS CAROL choreography, however. While we do honor the time period with the way we talk and walk there is a contemporary element in the dances that younger and older audiences can relate to. Dance for me has always been a way to communicate things that I couldn’t verbalize, and it helped me to express myself in a creative and personal way. I wanted the movements to speak for themselves without words or singing. There are some slow movements that can convey feelings of sadness or melancholy, whereas sharp, explosive movements can express strength and joy. Throughout all of the dance numbers you can see that being demonstrated. One of the central themes of A CHRISTMAS CAROL is personal transformation and redemption. You will see that there are a lot of formation changes in the first number to convey the many changes Scrooge will go through during the show. The character of Ebenezer Scrooge undergoes a profound change from a miserly, cold-hearted, and selfish man to a generous, warm-hearted, and compassionate person. These are some dancing themes you will see at the beginning of the show that will resurface with the new and improved Scrooge.


2)  Is there a particular aspect of A CHRISTMAS CAROL that resonates with you on a personal level? How does this connection influence your creative process?

People can change but you can’t change people. You have to allow people to grow and see things for themselves. Change comes when the person understands how their attitude is formed and how it impacts their life. It’s often a lot of reflecting and healing from the past. People can change if a few requirements are met, including self-awareness and willpower. Throughout the story Scrooge gets a chance to see when his life has changed and explores why he is so angry at the thought of Christmas. This influenced my creative process by giving myself grace in others. In rehearsal I was always there to help and make it easy for the actors because you just never know what people are going through. So showing up with energy and a smile will create a safe space that we all love to work in.

Photo by Reese Moore Photography


3) Take us through your creative process when choreographing for a production. How did you transform the narrative into movement and dance, especially for a story as iconic as Dickens’?

First I connect with the director to understand the vision they want for this show. A CHRISTMAS CAROL is an old story but our production brings this older story to new life with a hip hop contemporary feel, while still paying respect to the time period. When choreographing I like to sit and listen to the music to give it an emotion. How did this make me feel? After I have set on what emotion I want coming out of the dance, it begins to create itself. 


4) In the choreography for A CHRISTMAS CAROL, do you have any favorite dance numbers or sequences? What makes them special to you, either in terms of artistic expression or thematic resonance?

This is a hard question because I love all of the dances. I would have to say the opening number “God Rest Ye Merry Gentlemen” would be one of my favorites. The energy this song possesses is unmatched. I call it the stampede of joy when the cast comes rushing down at the top of the number. It sets up the story well with full energy where the audience will be immediately engaged. Sometimes you have to sit back and give yourself a pat on the back. Seeing this number come to life was a pat on the back moment for me. To see everyone enjoying the dance and vision I’ve created makes my heart warm.


5) Collaborating with the director and other members of the production team is crucial. Can you share a memorable collaboration experience and how it enhanced the overall production?

When choreographing you have to collaborate with everyone, not just the director. Sam the director and I work very well together with expressing what we want in a number. The finale is a big number that we both helped each other with to create the magical feeling we both wanted. The whole cast is on the stage for the first time and now we have to create this toy shop world which wasn’t easy to do. There is a lot that happens and without collaborating with the whole production team, the finale would not be as beautiful as it is.


6) Are there specific dance styles or holiday traditions that you find particularly inspiring or that you incorporated into the choreography to capture the holiday atmosphere?

I’ve grown up doing hip hop, modern, contemporary and musical theatre dance. I believe I incorporated all four dance styles to give you something new each time a dance number happens. A lot of it is high energy to match the Christmas spirit. You also get those moments of love and laughter.

Photo by Reese Moore Photography


7) Reflecting on your career, are there any performances or productions that hold a special place in your heart? What made them stand out among the rest?

I have two! My first year as an Resident Actor I played Lola in Kinky Boots and it was magical to play that dream role. That was a role I worked harder than ever on. As a person who is a dreamer, that was one of the moments where I could say my dream came true. I’m living the dream I set for myself years ago. I was lucky enough to later on perform this role again with Main Street Theatre in Pennsylvania. It was just as magical. That role will forever mean a lot to me. My second would be The Play That Goes Wrong. That was the most fun show I have ever been in. I played the butler Perkins who had no idea what he was doing in the show. It allowed me to be free and really express what type of actor I am. It was fast paced and always kept me on my toes. The love Perkins got from the audience meant so much to me. All I ever want to do on stage is impact the audience in some way, shape, or form. With a lot of stretching I could do that show for a long time. 


Get your tickets to see A CHRISTMAS CAROL, running December 6th – December 22nd, at CharlestonStage.com.


K’nique Eichelberger is originally from Columbia, South Carolina but moved to Brevard, North Carolina where he earned a B.A. in Music and Theatre. He is so excited to be performing with Charleston Stage again. He choreographed A Christmas Carol while he was an Resident Actor and is so happy to be choreographing once again. His recent credits include: Once On This Island (Daniel), The Play That Goes Wrong (Perkins), Kinky Boots (Lola), The Last Five Years (Jamie), Little Shop of Horrors (Audrey II), Into The Woods (Jack), A Streetcar Named Desire (Stanley) and more. He is very thankful for his friends and family who have supported him throughout the years. K’nique is so excited to change lives through creating art at Charleston Stage! Stay tuned on Instagram @nique_tg3

Behind the Curtain: Janine McCabe, Original Costume Designer for “A CHRISTMAS CAROL”


In our exclusive interview, Janine McCabe, our Original Costume Designer for A CHRISTMAS CAROL, delves into the fascinating details of her artistic approach last season to crafting the costumes for this timeless classic. We’re very excited that Janine’s work will once again be a major highlight on stage in this season’s adaptation!


1) To start, could you introduce yourself and share a bit about your background as a costume designer, especially in the context of theatrical productions?

Hi. My name is Janine McCabe and I have worked as a costume designer for over 25 years. After considering engineering and math careers, I eventually found my way into theatre through a work study job sewing in the costumes shop at the College of Charleston. After completing my BA in Theatre with a concentration in Costume Design, I went on to the University of Virginia for an MFA in Costume Design and then moved to NYC where I worked for designers including Martin Pakledinaz, who was an incredible designer and mentor. In NYC I was able to work on Broadway, Off-Broadway, Opera, Dance and travel around the country to help check costumes when putting new actors into roles on National Tours like Thoroughly Modern Millie. NYC was an incredible working and learning experience and has definitely informed every aspect of my career as a designer and as a professor of costume design.



2)  What attracted you to work on the costumes for A CHRISTMAS CAROL, and how do you personally connect with the themes and characters of this classic story?

The first thing that attracted me to the work for A CHRISTMAS CAROL was the excitement that Julian Wiles presented when he asked me to work on it with him and the team. His idea to bring color and energy and present the story in a way people hadn’t seen before was attractive to me. Julian and I had worked together before and he knew that I love to work with bold colors and to vear outside the lines of what is expected. Having a young son and other family getting older, I find myself drawn into the themes of generosity, compassion and time with family and friends over work and money more than ever. The struggles the characters face in this classic story exist today so there is much to learn and be reminded of at any age from this story.



3) Each character in A CHRISTMAS CAROL has a distinct personality. How did you go about visualizing and creating costumes that not only capture the essence of the characters but also contribute to the overall visual storytelling?

My assistants, Molly Belle and Brandon Alston, and I spent a lot of time looking into the story and representations of the characters over time. We looked into different interpretations and presentations of the story and talked about the character’s individual wants, needs, beliefs and views of the world they were in. We gathered images to reflect those ideas and their individual personalities first which were primarily abstract in nature and then moved toward research for the actual clothing. Knowing that conceptually we wanted a show full of color, we took great inspiration from children’s books and illustrations for the bold lines and colors we ultimately landed on. Throughout the design process we continually checked in with the development of the scenery, lighting and sound ideas to make sure that we were all headed in a unified direction to create the visuals that supported the directorial concept to bring that to life in the best way possible while supporting the story and characters.


4) Given the period setting of A CHRISTMAS CAROL, how did you balance historical accuracy with creative interpretation in designing the costumes? Were there any contemporary influences that inspired your designs?

As a designer, one of the things I find challenging but extremely fun conceptually is looking at historical research and infusing it with contemporary influences to present something that feels period but is seen in a new way. There were a lot of contemporary influences in color and pattern and the way people combine things in fashion today that you might not think should go together…even my 8 year old was an influence in the way he puts colors together and mixes and matches sets of clothing to express himself. Through the historical research though we actually found many examples of bright clothing, bold patterns and details we were not expecting. We gathered and collaged image boards with all these influences that we then posted around us so as we drew out the individual character designs they continued to inspire ideas.

Costume Renderings and Image Board by Janine McCabe.

5) Collaboration is key in the production process. Can you share insights into how you collaborated with the director and other members of the creative team to ensure that the costumes align with the overall vision for the production?

Collaboration is one of the main reasons I love designing. I was lucky to have Molly and Brandon working in the design studio with me preparing for this design for several months last summer prior to the work in the shops being started. During that time the director and creative team would meet through zoom and sometimes in person to share and present new ideas and these meetings were so important to the process. Hearing someone else talk about the concept or a lighting idea that then inspires something else in the costumes or set is what it is all about. It is the fun part! Julian worked very closely with us to understand each actor’s track and exactly what was needed moment to moment to achieve the overall vision. We all kept each other updated through online folders as well so that in the times between meetings we could still collaborate and stay on top of new developments. I really value the meeting times and sharing ideas…that is how we manage to make everything come together when we get to the technical rehearsals where everything is finally in the same place on stage together, months and months of work in different areas and then it comes together…it is a lot of hard work but it is also magical.

6) Do you have any favorite costumes or specific design elements in A CHRISTMAS CAROL that you are particularly proud of or that hold a special significance? What makes them stand out?

Oh that is tough…it is hard to pick a favorite. I had a lot of fun with the ghosts! I think the Ghost of Future stands out since it is not the more typical black figure but instead is layers and layers of white, grey, silver and icey blue tattered fabrics reflecting the cold and sadness of Scrooge’s potential future. I also especially love the homeless…I guess that might seem funny as you don’t see much of their costumes but if you did you would find that they are made from piles of reused and thrifted colorful sweaters cut up, distressed and layered in various ways creating a lot of texture and interest. Molly and I had a great time creating those. The stripes on Scrooge’s servants too…oh and the whole Cratchit family….they were so unique and exciting to create with their layers and patterns and colors. Hmmm….I don’t know, it was a rewarding and immensely creative process having the opportunity to work closely with my assistants and create such a colorful, newly imagined version of this story with Julian and the creative team!

Homeless Costume Piece by Janine McCabe.

7) Looking ahead, are there any upcoming projects or styles of costume design you are excited to explore in your future work?

Well, I am currently in the process of designing Die Fledermaus as part of the CofC Stages season in collaboration with the Opera Program at the College of Charleston and I think the concept for that production is allowing the team to play a lot with style and color especially for the Act II party, so I am looking forward to where that leads. A great thing about designing costumes is that every production offers a new challenge in storytelling, distinct research, different collaborators and lots to explore, so the excitement keeps going.


Get your tickets to see A CHRISTMAS CAROL, running December 1st – December 22nd, at CharlestonStage.com.

Janine McCabe is the Chair and Costume Design Professor for the Department of Theatre & Dance at the College of Charleston where she regularly designs and mentors student costume designers for the department’s CofC Stages season, for which she also serves as Artistic Director. Recent designs for CofC Stages include VIOLET and THE MAGIC FLUTE. Janine’s work at Charleston Stage includes designs for CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, PETER AND THE STARCATCHER, WHITE CHRISTMAS, THE UNDERPANTS and SHERLOCK HOLMES-THE FINAL ADVENTURE. She also serves as resident designer for PURE Theatre where designs include MLIMA’S TALE, HONORIA QUIETLY DRAWING STRENGTH FROM HER TRUTH, BEN BUTLER, THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY, THE CHILDREN, THE LIFESPAN OF A FACT, LAST RITES, SMALL MOUTH SOUNDS, THIS RANDOM WORLD, FUN HOME, THE ROYALE, THE (CURIOUS CASE OF THE) WATSON INTELLIGENCE, A SUDDEN SPONTANEOUS EVENT, MARIE ANTOINETTE, and more. Regional Costume Design credits include productions at Flat Rock Playhouse NC, Fringe NYC, Barrow Group NYC, and Trustus Theatre SC. Broadway Assistant Costume Design credits include: THE WEDDING SINGER, WONDERFUL TOWN, THOROUGHLY MODERN MILLIE, THE LOOK OF LOVE, A YEAR WITH FROG AND TOAD, KISS ME KATE. Other local designs include SALT IN THE SOIL and HOVER (Annex Dance Company), THE TRAGEDY OF CARMEN and DON GIOVANNI (Charleston Opera Theatre), the world premiere of LOVE AND SOUTHERN DISCOMFORT at the Charleston Music Hall, and most recently, the world premiere of DANIEL AND THE KINGS at the North Charleston Performing Arts Center.

Behind the Curtain: Sam Henderson, Director and Music Director of “A CHRISTMAS CAROL”

We recently had the pleasure of interviewing Sam Henderson, our Music Director and Director of A CHRISTMAS CAROL. Read more below to discover insights into his creative process while directing this holiday classic!


1) What drew you to A CHRISTMAS CAROL as a project, and how do you connect with the themes of the story on a personal or creative level?

A CHRISTMAS CAROL has been a favorite story of mine since my second grade teacher, Mrs. Eisenhower, read it aloud to us in the time leading up to holiday break. I was enthralled by the magic and the imagery in the piece from the very start.

Photo by Reese Moore Photography



2)  Music plays a crucial role in setting the tone for a production. Can you share the musical inspirations that guided your composition for A CHRISTMAS CAROL, and how you approached integrating them into the narrative?

Putting a modern spin on the music was a challenge for sure. It was important to me that we keep the instrumentation appropriate for the period; using only instruments that would have existed/been popular during Dickens’ time (mostly anyways!). I then had to figure out how to use those instruments in a way that sounded more modern and fun. Artists like Mumford and Sons and Lindsey Stirling and musicals like “Once” all came into play when searching for inspiration for this new take on these tunes. I also wanted some contrast back to reality of the time period. So, for example, when we’re in Fred’s house and the house guests break into song for the evening’s entertainment, the setting I did of “I Saw Three Ships” is very much of the period and doesn’t try to be something it’s not.



3) Collaborating with different creative minds is essential. How did you work with the choreographer and other members of the production team to ensure a cohesive and immersive experience for the audience?

Creating this new version of A CHRISTMAS CAROL alongside playwright Julian Wiles and, choreographer K’nique Eichelberger, was great fun. We were able to all be there in the room together trying things out and figuring out what worked and what didn’t. We could then make adjustments to music, choreography or script as needed to make all these elements work together to tell the story in the best way.

Photo by Reese Moore Photography



4) In directing A CHRISTMAS CAROL, do you have any favorite scenes or moments that stand out to you?

There are two scenes that I’m quite fond of. The first is in “the past” when we see the moment when Scrooge’s relationship with Belle ended. It’s a hard look at one of the reasons he has become the way he is in the present and has some really lovely writing. The other is in “the present” when Scrooge visits the Cratchits on Christmas Eve. Our Cratchits this year have such a warmth and joy about them that you find yourself really wrapped up in this scene and wanting to be a part of the family!


5) What do you hope audiences will take away from your production of A CHRISTMAS CAROL?

I hope audiences are able to see that people are able to move beyond the traumas and tragedies of their past, and that it’s never too late to rearrange your thinking and correct mistakes of the past. And sometimes, it’s the joy we are surrounded by at this time of year that can spark that little change.

Photo by Reese Moore Photography


Get your tickets to see A CHRISTMAS CAROL, running December 1st – December 22nd, at CharlestonStage.com.

Sam Henderson is Charleston Stage’s Resident Music Director and Director of Music Education. He holds a Bachelor of Music Education Degree in Instrumental Music/Trumpet Performance from Baylor University in Waco, TX, as well as a Masters Degree in Musical Theatre/Opera Music Direction from Arizona State University. Sam has over 20 years experience teaching music professionally, and has been working as a theatre music director and conductor since 2005. Professionally, Sam has worked for The Phoenix Theatre Company, Childsplay, The Broadway Palm West Dinner Theatre, Arizona Broadway Theatre, Lyric Opera Theatre and Copperstar Repertory Company prior to coming to Charleston Stage.

Behind the Curtain: Aline Toloto, Properties Designer for “CLUE: ON STAGE”

We had the pleasure of catching up with Aline Toloto, the brilliant mind behind our props design for CLUE: ON STAGE. Once again, she has brought her exceptional skills to the Dock Street Theatre, and we invite you to take a behind-the-scenes look at her creative process in crafting the props for this uproarious production.


1) CLUE: ON STAGE features a variety of iconic props, such as weapons, secret passages, and objects that characters interact with. How did you plan to design and source these props to ensure they are both functional and visually appealing?

Designing a prop, like any other object, is always a combination of beauty and function. While the world of theatre props is not as vast as the movie industry, it has been growing over the past few decades. There are excellent books by experts like Eric Hart (one of my favorites) that provide guidance on creating various projects. Whenever possible, I use such references. The real challenge arises when you have to create unique props for which there is not a lot of reference to research from. In these cases, a lot of trial and error is involved, and the rehearsal period becomes vital for testing the functional aspects of the props. Ultimately, experience plays a significant role in prop making. The more you create, the better you become with each project.

Photo by Reese Moore Photography



2)  CLUE: ON STAGE often involves physical comedy and quick exchanges of props. How did you create props that can withstand the demands of the performance while maintaining their authenticity and humor?

I love crafting props for comedies as they allow for more creativity. You can be bolder with colors, play with scale, and embrace the bizarre. For instance, having an oversized wrench might feel out of place in a historical drama, but in CLUE: ON STAGE it only adds to the humor. Additionally, in comedies, if a prop happens to break, it’s much easier to play it off as part of the act. It’s important to remember that a prop is just an object; its authenticity and vitality largely depend on how the actors and director utilize it. My role is to ensure they have a well-designed object to work with.


Watch CLUE: ON STAGE’s show trailer below!



3) Collaboration with the rest of the production team is crucial in theater. How did you work with the director, set designer, costume designer, and lighting designer to ensure that the props seamlessly integrated into the overall vision of the production?

This show is like a large canvas, painted by many artists, and props are one element that can add depth, contrast, or serve as a focal point if that’s the goal. As a Properties Supervisor, I participate in all design meetings to comprehend the design concept and ensure that props are an integral part of the production’s world. There’s a great deal of communication between different shops, including sharing color and fabric samples and conducting lighting tests to ensure everyone is aligned. In the very beginning of the process, the creative team decided to draw inspiration from the board game CLUE for the design. Based on that choice, I proposed making all the weapons gold, a theatrical design decision that not only made the weapons stand out but also created a striking contrast with the costumes and set.

Photo by Reese Moore Photography



4) What research and preparation do you typically undertake when designing and sourcing props for a production like CLUE: ON STAGE? How did you ensure that the props are historically accurate and appropriate for the time period and characters?

It’s an essential part of my process to research the historical period before beginning work on the props. Given that the play is set in the 1950s, finding accurate historical images of objects is relatively easy, different from a play that is set in the 1800s. However, strict accuracy isn’t always a requirement. Sometimes, I use an historical photo as inspiration to create something similar. Audiences tend to connect the silhouette of the object with something “vintage”, from the past, and most of the time, that is enough. As a theatre artist, it’s important to recognize that close-up details aren’t as crucial since the audience is typically seated at a distance.  


5) As a props designer, how do you ensure that the props are safe for the actors to use during performances, especially when they involve physical comedy or quick changes?

There are safety guidelines that are an integral part of our protocol, such as ensuring that knives are dull, guns are non-firing replicas, and avoiding the use of glass on stage whenever possible. The choice of materials is also crucial for creating safe props. For example, opting for soft materials like foam or rubber for knives and swords can significantly enhance safety during performances.

Photo by Reese Moore Photography



6) Finally, what excites you the most about our audiences experiencing CLUE: ON STAGE and seeing your properties design?

What excites me the most about our audiences experiencing CLUE: ON STAGE and seeing my properties design is the opportunity to transport them into a world of mystery, comedy, and nostalgia! I hope we can get many big laughs! 


Get your tickets to see CLUE: ON STAGE, running November 2nd – November 5th, at CharlestonStage.com.

Originally from Brazil, Aline holds a Master of Fine Arts degree in Theatre and Technology with emphasis in Scenic Design from the University of Southern Mississippi. With extensive experience as a Prop Master, Scenic Designer, and Set Decorator, Aline’s career highlights include her role as Properties Supervisor for Charleston Stage’s 45th Season, overseeing eight captivating shows including The Addams Family, A Christmas Carol, and Once On This Island. She is thrilled to continue with the company for the next year.

Behind the Curtain: Colin Waters, Director for “CLUE: ON STAGE”

We recently had the pleasure of interviewing Colin Waters, who has embarked on his directorial MainStage debut with CLUE: ON STAGE. Read more below to discover insights into his creative process while directing this uproarious murder mystery romp!


1) CLUE: ON STAGE is known for its mix of mystery, comedy and farce. What drew you to this particular play, and what aspects of the script did you find most exciting or challenging as a director?

CLUE: ON STAGE has always held such a special place in my life.  Both the board game and the movie were staples of my childhood that left me with quite formative memories. The second I heard that Charleston Stage would be producing CLUE: ON STAGE this season, I was vying for the opportunity to direct it. I knew that this show would be a beast of a show to tackle. With a show that has such a culture surrounding it, there are many references and expectations accompanying it. While that is an incredibly exciting challenge to take on, it also was a bit daunting. I knew I needed to approach my direction very meticulously. The text of this show follows the storyline from the movie pretty closely with countless iconic lines sprinkled into the show verbatim from the movie. As a director, I had to teeter the line of paying homage to the cult film, while also taking my own approach on the show. To help spin our production into something nostalgic but also original on its own, I wanted to have audiences feel the influences from the movie and the board game. I wanted to recreate the feeling of sitting around the table playing the game of “Clue” with your loved ones: the competition, the strategy, the mystery.

Moving away from the conceptual challenges at hand, the biggest physical challenge at hand is how quickly this show moves. Not only is the pacing of this show vital to its success, but the audience is given so much information throughout the course of the night that will all lead to solving the mystery by the end of the play. We had to balance keeping the pace moving while not sacrificing all the information laid out for us. Throw in the fact that this play is set in a mansion with over 8 distinct locations, sometimes being in multiple rooms at the same time, and you have a cluster of directing challenges ahead of you. That being said, I direct with a very innovative, ensemble-driven style. I used that direction style to keep the show moving, never allowing the audience a second to be drawn out of the world we are crafting before their eyes.

Photo by Reese Moore Photography



2)  CLUE: ON STAGE features a diverse ensemble of characters, each with distinct personalities and quirks. How did you work with the actors to bring out the individuality of each character while also portraying the iconic moments that loyal film and board game enthusiasts have come to love?

This was one of the very first things I discussed with the actors. I began this process with one question. How do we as performers honor the incredibly recognizable and unique characters made famous by the movie, while still bringing our own artistry to the stage? Since this show is all about the games we play, I encouraged the actors to explore how their character plays “the game.” To keep their longevity in the story do they use flirtation as a tactic, do they minimize their threat level around more explosive characters, do they over-exaggerate their personality to draw others in? Once each actor discovered their gameplay, I introduced the concept that this show is very meta. The show follows a game, within a game, within a game, within a game. At its core, we have 6 extremely diverse personalities: Green, Scarlett, Plum, Mustard, White and Peacock. These are the characters that know the least about the game they are playing. Their goal is to figure out who is blackmailing them and eventually who is committing the murders in the house. Since they are at the center of this universe they have the most amplified personalities. The next layer outside of these characters is any of the characters that had prior knowledge as to the game that was being played that night: Wadsworth, Yvette, Mr. Boddy, The Cook and so on. These characters had some sort of involvement in this evening’s festivities, whether they planned the night, helped execute the vision, or were just one of the informants giving tips to the blackmailer. Their characters are more subdued than the core 6, but they still have their own exaggerated characteristics and a clear vision of their style of “gameplay.” Finally, our ensemble represents our audience, the ones playing the game of “Clue.” They have the least intense personalities because they are the furthest removed from the stakes of the game. Instead, they are on the outside looking in. They see what the other characters fail to notice.


Watch CLUE: ON STAGE’s show trailer below!



3) The play typically takes place in a mansion with multiple rooms and hidden secrets. What was your vision for bringing the mansion to life on stage, and how did you create a sense of space and atmosphere that enhances the storytelling?

As I mentioned earlier, this was one of the biggest physical challenges this show presents. How do you successfully move through 8 different rooms in a house, giving each room its own distinguishing characteristics, without the entire stage feeling cluttered? After many creative brainstorming sessions with Adam, the scenic designer, we landed on a concept that established the intricacies of the mansion while allowing freedom to move from room to room. I knew that I wanted to incorporate a physical representation of the board game somewhere on the set, and Adam conceptualized the idea that the set was full of doors leading to different rooms throughout the house. As we enter a room, the doors move throughout the space opening us up into the room. At the same time, he brought the board game vision to life by allowing audiences to see the map of the house at all times, signifying where in the board game our characters are located.

Photo by Reese Moore Photography



4) CLUE: ON STAGE often involves physical comedy, quick entrances and exits, and moments of slapstick humor. How did you choreograph and stage these comedic elements to maximize their comedic impact?

I knew to fully capture the pace of this show, the blocking and choreography had to rise to the same level. This show is riddled with a complex storyline, I wanted the movement of this show to mirror that complexity while still being controlled and beautiful. Audiences can expect transitions that flow from one room to the next. As characters move throughout the house, we get an inside perspective as to what they might be thinking. The show relies deeply on physical comedy and the element of surprise, I mean there are several murders revealed over the course of the show. Eliza Knode, Resident Actor, took on the challenge of Fight Directing this show. Her expertise elevated the physicality of this show to another dimension I could only have dreamed of.  


5) Collaboration with the rest of the production team is crucial in theater. How did you work with the set designer, costume designer, and lighting designer to ensure that the overall vision of the production was cohesive?

I cannot sing the praises of our production team enough. Everyone who worked on this show poured their heart into it and it absolutely shows. Each designer incorporated different elements that drew inspiration from the play itself, the movie, and the board game. A large portion of the success of this show lies in how harmoniously each design element works with one another. Every design can stand alone but also enhances the other designs around it. Our scenic design, brought to us by Adam Jehle, immerses us into a Victorian-style mansion with a physical representation of the board game plastered on our back wall. This map of the board game doubles as a map of the house, often helping indicate where exactly in the house each scene takes place. Our costume designer, Hayley O’Brien, highlighted the silhouettes of 50s era clothing, while also blending the iconic colors of original game pieces into her costume design. Aline Toloto, our properties designer, incorporated many historically accurate props to help build the world of the show; however, she also stepped into the theatrics of the board game and gave nods to some of the classic board game pieces. Caleb Garner’s lighting design is nothing short of superb. He used lighting to help emphasize the theatricality of the movie and juxtaposed that with mood lighting to help creep in the air of mystery. Finally, Luke Walchuk, our sound designer, composed an original score that’s equal parts grandiose as it is nuanced. Each design element serves as another character working within the ensemble of this show. All of our incredible staff in the costume and scene shops helped bring these beautiful designs to life and I couldn’t be prouder and more impressed with the outcome.

Photo by Reese Moore Photography



6) Finally, what excites you the most about our audiences experiencing CLUE: ON STAGE?

I am excited to have a different conglomeration of audiences. Some audiences will be die-hard CLUE movie fans. Ones that know every single line from the show and the cultural relevance it continues to leave on society. Some audience members will be board game superfans. They might be strategists, game-players, people who love the thrill of trying to solve the mystery before anyone else. Some audience members will be theatre lovers. People who may have no prior connection to the movie or board game, but are drawn to this show solely for their love for theatre. As someone who shares a little bit of all three of these audience personalities, I wanted to ensure that everyone would leave this production buzzing about their specific love for this show. I think this show will mean something different to every audience member who sees it, and I absolutely cannot wait to be surrounded by hundreds of others every night as we experience this show together.


Get your tickets to see CLUE: ON STAGE, running October 27th – November 5th, at CharlestonStage.com.

Colin Waters is ecstatic to make his Mainstage directorial debut with Charleston Stage. Originally from Northern Kentucky, Colin got his B.F.A. in Acting and a double minor in Musical Theatre and Arts Administration from Western Kentucky University. Clue: On Stage marks Colin’s 25th production with Charleston Stage, acting and directing. Colin’s previous Charleston Stage directing credits include: Charlotte’s Web (Season 45), Bright Star (Asst. Director), Treasure Island (Season 45), The Best Christmas Pageant Ever (Season 42). Some of Colin’s favorite Charleston Stage acting credits include: The Addams Family (Uncle Fester), The Play That Goes Wrong (Robert/Thomas Colleymore), Of Mice and Men (Lennie), Footloose (Willard), Bright Star (Mayor Josiah Dobbs), Beauty and the Beast (LeFou), The Curious Incident of the Dog in the Night-Time (Voice 4), Shear Madness (Mikey) and Elf (Santa Claus). Colin was recently named the Best Actor in the 2023 Best of Charleston City Paper Awards. You can find Colin on Instagram: @thepapacolin