Hogan: Charleston audiences get a ‘Clue’ with vim, vigor and candlestick


By Maura Hogan mhogan@postandcourier.com
Click Here to view the full review on The Post and Courier’s website.

Photo by Reese Moore Photography


Whether you’ve always been leery of Professor Plum’s tweedy pomposity or judgy of Miss Scarlet’s unapologetically wanton ways, there are abundant tells among the rogue’s gallery of suspects in “Clue” to offer fodder for finger-pointing.

For decades, the board game-turned-movie-turned-farce has enthralled those who revel in a good old-fashioned whodunit, one pinned particulate on the where and with what.

Gathering a charged cast that is more than game to maim with the help of a candlestick, rope or wrench, Charleston Stage now serves up the latter, “Clue: On Stage.” The theatrical rendition of the 1985 film, which debuted in 2022 at Paper Mill Playhouse in New Jersey, gets its first go at the Dock Street Theatre, running through Nov. 5.

Photo by Reese Moore Photography


For the stage version, Sandy Rustin wrote and adapted screenwriter Jonathan Lynn’s screenplay, folding in new bits and quips created by Hunter Foster and Eric Price. The Charleston Stage production also marks the main stage directorial debut of the company’s repertory member Colin Waters.

Over the past few years, Waters has been a ubiquitous Charleston Stage presence with an impressively wide-ranging track record as a performer on the Dock Street stage. For this production, he leverages his comic skills to harness the ensemble cast in a series of mishaps and murders that increasingly up the on-stage antics.

Much like the film it’s adapted from, this noteworthy departure from the famed Parker Brothers board game delves into the Cold War American politics that inform the plot. This “Clue” is set in 1950s at the height of McCarthyism, with the Red Scare somewhat folded into the goings on.

Before I parse those performances, due credit must be paid to a key agent in the production: the set. For this production, scenic designer Adam Jehle has devised a beauty. While suitably tricked-out burnished wood and oil paintings befitting the toney home of the well-to-do Mr. Boddy, it also brings to life the room-roaming board game in inventive ways.

Farcical forays play out in the genre’s multiple doors. Through them, characters pop in and out to enter and exit hallmark spaces from the game — the library, the billiard room, the conservatory, etc. — with paintings on a backstage wall flipping over to reveal each. But unlike the static structures in most farces, these doors have legs, with actors wheeling them hither and yon across the stage to comic, antic effect.

At the same time, effective use of color is deployed throughout, with each suspect swathed in the hue that cues up their name, compliments of costume designer Hayley O’Brien. Think a feather-topped teal for Mrs. Peacock, a boldly bedazzled fire engine red for Miss Scarlet, a swell emerald suit for Mr. Green.

Now, about those characters. This play works best when the performers go for the glory in their interpretation — and go for the gusto in physical comedy. As the butler Wadsworth, Justin Von Stein makes his Charleston Stage debut in fine, lithe fettle, smoothing over all of the mayhem with a mellifluous British accent as he nimbly navigates pratfalls and the like with deceptive ease.

Others among the famed suspects hold their own, too, among them Kathy Summer, who makes impressive performative hay with the prattling, sanctimonious Mrs. Peacock; Dominick Ventrella as a quirkily nervous Mr. Green; and Mike Hornacek, who has Southern-fried fun with Colonel Mustard. All in all, the cast delivers commendable wattage as they bustle and scamper, enter and exit, vamp and wilt, wielding some weapons while deflecting others.

But in this work, the clue is in the humor. This is not a murder mystery that trades in suspense. Instead, its motivation is black comedy — of the pleasant chuckle-eliciting variety more than rip-snorting guffaws. And it’s agreeable enough for the entire family, too.

Apart from a some mild, come-hithering from Brietta Goodman’s self-possessed Miss Scarlet, “Clue” offers both the requisite nostalgia and fast-paced repartee for parents, as well as some amped-up shenanigans sure to entertain the visually-savvy TikTok generation.

Photo by Reese Moore Photography


To wit, my 10-year-old daughter Beatrice and her chum Vivienne were beyond delighted with the show — solid testament indeed for a rare weeknight splurge likely to work its way into their tween banter in the weeks to come.

All in all, “Clue: On Stage” chugs along amiably, even while its requisite physical rigor is certainly more of a strenuous workout than its energized actors let on. At Charleston Stage, they are all-in for a fun, fangless evening at the theater, one certain to go down as easy as the wine in Mr. Boddy’s crystal goblets.

Click Here to view the full review on The Post and Courier’s website.

Behind the Curtain: Adam Jehle, Scenic Designer for “CLUE: ON STAGE”

In our latest production of CLUE: ON STAGE, we caught up with Adam Jehle, our talented Scenic Designer who is once again gracing the Dock Street Theatre with his skills. Explore below to delve into his creative process for crafting the sets of this uproarious whodunit.


1) CLUE: ON STAGE is set in a mansion, and the setting plays a crucial role in the story. What elements of the mansion’s design and atmosphere did you find most intriguing and challenging from a scenic design perspective?

I love the original movie, and I also love the board game. So from the beginning I wanted to incorporate both those ideas into the design of the set. What was challenging was trying to place the board game design elements, that are not very realistic, and blend them into the world of the mansion.


2) The play typically takes place in multiple rooms within the mansion. How did you plan to create distinct spaces for each of these rooms while maintaining a cohesive overall design?

With a lot of shows nowadays, they are written like movies. So there are a lot of different locations and set pieces that are needed to tell the full story. But when I try to design shows like that, I like to think how it could be broken down in its most basic form and expand from there. For CLUE: ON STAGE, the most intriguing and challenging aspect was going to all these different rooms in the mansion. So I decided that we should focus on the doors and have them move around the mansion like a maze, and to help the audience stay on track on what room we are in there would be this large wall that looked like the board game to flip around and tell us what room we are in. We also only used a few “Key” furniture pieces that would be recognizable for each room.

Photo by Reese Moore Photography



3) CLUE: ON STAGE often involves physical comedy, quick entrances and exits, and even some slapstick humor. How did you intend to design the set to accommodate these comedic elements and maximize their comedic impact?

Like the idea of “physical” comedy, I decided to make the set “Physical” as well. Meaning the actors move the walls and doors and furniture and have them be a part of that comedy they are doing. When they are running for their lives around the house, the house is running right behind them.

Photo by Reese Moore Photography



4) The play is known for its secret passages, hidden compartments, and surprise elements. How did you envision incorporating these elements into the set design to create moments of surprise and excitement for the audience?

Our Director Colin Waters had a lot more to do with that than me. He’s decided to hide bodies behind doors and furniture and make them appear from nowhere. I just made the set highly movable to help him with that vision.

Photo by Reese Moore Photography



5) What research and inspiration did you draw from when designing the mansion’s interior?

The board game had a lot of inspiration for me. I wanted everyone watching to feel like even if they hadn’t seen the movie there were little pieces of the board game they recognized and could point out.


6) Were there any specific technical challenges you anticipated when designing the set for CLUE: ON STAGE, such as special effects, scene changes, or moving set pieces?

Honestly one of the most challenging parts was designing this show in rep with The Lightning Thief. You have to remember everything you see on stage has to go away and a whole other set has to go there. The lights and curtains can’t move every show which means I can only put things in certain places. A lot of planning had to go into every little thing, even down to the trim and how it can come off quickly and be stored away efficiently.

Photo by Reese Moore Photography



7) Finally, what excites you the most about our audiences experiencing CLUE: ON STAGE and seeing your scenic designs?

I promise this will be like no other CLUE anyone has ever seen before. It’s fresh, it’s new, and it’s hilarious in old and new ways. I am excited for people to see all the hard work everyone has done to achieve that.


Get your tickets to see CLUE: ON STAGE, running October 26th – November 5th, at CharlestonStage.com.

Adam Jehle, originally from Nixa, MO, is the Resident Scenic/Projections Designer and Assistant Technical Director for Charleston Stage. His credits include Projection Design for Murder on the Orient Express and The Best Christmas Pageant Ever, Scenic Designs for The Addams Family – A New Musical, Native Gardens, Charlotte’s Web, Black Pearl Sings! and Kinky Boots for Charleston Stage, and Technical Direction for all of Charleston Stages’ 45th Season. Other credits are scenic designing shows such as Cinderella and Mamma Mia! at Crane River Theatre in Nebraska, and Titanic, Cabaret, and Groundhog Day at Stagedoor Manor in upstate New York. He received his B.F.A. in Design, Technology and Stage Management from Missouri State University in 2020. Adam is excited to be Designing other shows for Charleston Stage this season including The Prom, Clue: On Stage, A Christmas Carol, and The Trip to Bountiful.

Behind the Curtain: Hayley O’Brien, Costume Designer for “CLUE: ON STAGE”

We spoke with Hayley O’Brien, our Costume Designer, bringing her skills to the Dock Street Theatre once again in our production of CLUE: ON STAGE. Get your tickets to the show here, and read on to learn more about her artistic process in designing the costumes for this madcap stage adaptation!


1) What attracted you to the project CLUE: ON STAGE, and what aspects of the play’s characters and setting did you find most exciting from a costume design perspective?

Growing up I was a huge fan of playing the board game, CLUE, and I always played it with my friends! I first saw the film CLUE when I was in fifth or sixth grade and it quickly became one of my favorite movies. I have seen the film probably a hundred times and still quote it to this day! So needless to say, I was VERY excited to design the costumes for CLUE: ON STAGE! Everyone knows CLUE and its iconic characters so I was really excited to help make these characters come to life and work with the production team to incorporate elements of the board game while paying homage to the film.


2) CLUE: ON STAGE features a variety of distinct characters, each with their own personalities and quirks. How did you approach designing these costumes which reflect and enhance these iconic characters?

From the beginning, I knew we as a production team wanted to allude to the game board of CLUE. Therefore, I looked at many publications of CLUE, specifically the character cards, to see what image people really think of when they think of these iconic characters. For instance, when we think of Colonel Mustard we think of him dressed as a colonel but there are many depictions where we see him dressed as more of a safari explorer. So I really wanted to play with the memories people have of these characters. Since the script of the play is based off of the 1985 film, I also sought to reference the silhouettes of the film to connect the two inspirations. 

The great thing about a show like CLUE: ON STAGE is that the characters are so different from each other! In the script, each character’s description is very distinct, almost archetypal, that it leaves an impression on you as a designer to the point where you have an image already painted in your head. I really wanted to play up each character’s uniqueness through the difference in silhouettes and fabric textures. For example, Miss Scarlet is described as being dressed in “Hollywood” glamor so I wanted her to be dressed in silky fabrics that drape with lots of sparkling details. Whereas Mrs. White is described as being very morbid and dressed in funeral clothes so I wanted her to be very structured and angular to further emphasize her stoic and dark behavior. Throughout all the costumes, each character contrasts one another but comes together in a cohesive way that I think audience members will really enjoy!

Photos by Reese Moore Photography


3) What research and preparation do you typically undertake when designing costumes for a production like CLUE: ON STAGE? How do you ensure that your designs are authentic and appropriate for the time period and characters?

When a production centers on such an iconic subject from our culture, I focus on what elements people register with. Everyone has an idea of what CLUE looks like, whether they think of the game or the film. Therefore, I feel it is important to take memorable aspects of the original while putting my own spin on it. A lot of my research for this production involved looking at many versions of the game CLUE while also researching the time period and setting. To make sure the designs are appropriate, I try to find images of actual garments, vintage patterns, photographs and magazines from the actual time period so that silhouettes and design details help establish the setting. In this production, you have specific costume pieces that require more extensive research. In particular, the production has characters like Colonel Mustard and Wadsworth that are dressed in uniforms that have a specific and vast history. To respectfully design these costumes, I feel it is important to deep dive into every aspect and detail in order to be as authentic as possible!

Photo by Reese Moore Photography



4) Were there any specific challenges you anticipated when designing costumes for this production, such as any special effects or quick changes that needed to be accommodated?

In this show, a LOT happens as the plot unfolds. We have actors that play multiple characters with some fast quick changes! Spoiler alert, but we also had to consider portraying the murder of a few characters, such as attaching weapons to costumes or putting on fake blood. The characters also have to hide evidence and weapons on their bodies or in their purse, which was a major factor when approaching some of the costumes. The actors are also very physical in the show, so I really took into consideration giving them enough mobility in their costumes.

Photo by Reese Moore Photography


5) CLUE: ON STAGE is known for its humor and farcical elements. How did you plan to incorporate comedic elements into the costume designs to enhance the overall hilarity of this play?

I think the bright colors and vibrancy of the costumes really adds to the overall comedy of the show! The production approaches a murder mystery in a humorous way so while the show has very serious and dark moments the characters themselves look and act very lively and saturated!


6) Collaboration with the rest of the production team is crucial in theater. How did you approach working with the director, set designer, and lighting designer to ensure that the costumes seamlessly integrated into the overall vision of the production?

For the initial design, our Director Colin Waters presented his concept for the show and expressed certain elements he wanted for the production. The overall concept was to incorporate elements of the board game into the whole production, which everyone was excited about and on board with! Before each department did their own research, we sat down and presented general images that evoked the general mood, feeling, and vibrancy of what we thought of the show. From then on we were all very in sync with each other in the collaboration process. We thought about how each design element would work with one another. We talked about how the saturation of the costumes would pop against the rich earth tones of the set and how dramatically lit certain scenes would be.

During the design process, Colin and I were in agreement on the importance of having each character dressed in the colors their name represents so the characters felt like the game pieces people would play as in a game of CLUE. I feel this design choice works extremely well since Adam Jehle, Scenic Designer, did such a great job making the set really reference the game board of CLUE and Aline Toloto, Props Master, integrated elements such as CLUE playing cards and the weapons looking like the actual  metal pieces you would put in each room. Overall, I think all the design elements work well together in creating the murder mystery game we all know and love!

Photo by Reese Moore Photography


7) Finally, what excites you the most about our audiences experiencing CLUE: ON STAGE and seeing your costume designs?

I am really excited for the audience to see the whole production come together! I think everyone involved in this production worked so hard and passionately. I am so excited for the audience to see the characters come to life in their costumes and see all the fun and unique design elements!


Get your tickets to see CLUE: ON STAGE, running October 26th – November 5th, at CharlestonStage.com.

Hayley O’Brien is very excited and proud to be working at Charleston Stage! Originally from South Florida, Hayley graduated from Florida State University with a Master of Fine Arts in Costume Design and a Bachelor of Arts in Theatre. Her recent credits at Charleston Stage include Native Gardens, JFK and Inga Binga and The Addams Family- A New Musical. Other credits include Kinky Boots, Roald Dahl’s James and the Giant Peach, and Blithe Spirit. She looks forward to future productions ahead at Charleston Stage and is thankful to be involved in the TheatreWings program. Hayley would like to thank her family and friends for all their love and support!

Behind the Curtain: Luke Walchuk, Sound Designer and Original Score for “CLUE: ON STAGE”

We spoke with Luke Walchuk, our Resident Sound Designer and Audio Engineer, bringing his skills to the Dock Street Theatre once again in our production of CLUE: ON STAGE. Get your tickets to the show here, and read on to learn more about his artistic process in designing the sound and creating the original score for this murder mystery romp!


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

CLUE: ON STAGE is, without a doubt, a comedy, and a pretty silly one at that. However, the comedy only works against the serious stakes of murder and danger. As a sound designer, my biggest challenge is to help support both the silly and the serious. It’s important to have a suspenseful atmosphere because we need to believe that these characters are afraid for their lives. On the other hand, I have a hand in helping some of the jokes land as well. The challenge there is making sure the sounds don’t come across as cartoonish. It’s this balance that I found really interesting in working on this show.


2)  Mystery plays often require careful use of music to build suspense and enhance the mystery-solving aspect of the story. How did you approach creating the original score for this production showcasing the mystery as well as the comedy?

My first priority in creating the score for CLUE: ON STAGE was to make sure that the music supported the wide variety of moments in the show while remaining a cohesive piece from beginning to end. I didn’t want it to feel like a collection of disparate pieces of music chosen on a moment-by-moment basis.

I approached this goal in two ways. First, I chose my instrumentation ahead of time and restricted myself to only using that sonic palette throughout. I made sure to include instruments that could support both serious moments and more comedic ones. I’ll go through some of my choices in more detail in a moment.

My second strategy for a cohesive score was to use repeated themes throughout the score. There are a few melodic ideas that come up again and again. Sometimes it’s a note-for-note repeat of the same theme, other times it’s a reworking of it, but the same ideas are threaded all the way through.

The instrumentation really helped me set the tone for this production. In early discussions with director Colin Waters, it was established that the production would be very much inspired by classic mystery and noir movies, as well as by the CLUE movie from the 1980s. The play itself is often performed with a live pianist, but Colin wanted a fuller sound for the score. With this in mind, my first choice for instruments was a fairly obvious one: orchestral strings. 

With this basic idea in mind, I chose to lean in to the melodrama of the movies that inspired us and decided to add a theremin to the mix. If you’re not familiar, a theremin is an electronic instrument that is controlled via two antennas – one for volume and one for pitch. The player doesn’t touch the instrument at all, but moves their hands through the magnetic fields surrounding these two antennas in order to manipulate the sound. The resulting sounds are eerie, haunting, and frankly a little bit cheesy. Perfect for the balance I aimed to strike in tone.

I also felt that the setting of CLUE: ON STAGE called for the kind of stately, heavy-handed drama that can only be achieved with a pipe organ. The organ is a versatile instrument, but in the context of spooky scoring is best known for its boisterousness. CLUE: ON STAGE definitely benefits from moments of boisterousness.

Finally, I needed a solo instrument for some of the lighter passages. Something with a little bit more lively expression than I could achieve with the organ. Starting with a particular moment that calls for a bit of tango, I landed on the clarinet. The clarinet is a versatile instrument that is at home being both somber and playful. The tone is pleasant across its entire range, and it turns out that it plays very well with pipe organ.

Having assembled this palette of sounds, I was able to keep my score unified but flexible.


Listen to Luke’s original score below featured in CLUE: ON STAGE’s show trailer!



3) CLUE: ON STAGE often involves quick sound cues to accentuate comedic moments, surprise reveals, or suspenseful scenes. How did you choreograph and execute these sound cues to maximize their dramatic impact?

One of the keys to moments like this are careful choices of the sounds themselves. There is a lot of exuberant noise coming from the actors themselves in this play, so I have to make sure that the sounds don’t get lost in the hubbub. Making sure that they are loud enough is certainly key, but they also need to be long enough that they don’t get missed. They also need to be different enough from the noise happening on stage. Using higher-pitched sounds than the voices on stage help to make them stand out. I also often will accentuate them with very low-frequency, punchy sounds that the audience feels more than they hear. This really adds to the drama of anything from thunder (obviously) to the impact of a murder weapon, um, doing a murder. 

With all of that being said, I do have to exercise some restraint. My sounds shouldn’t be so prominent that they take the audience out of the experience. They should complement what’s happening on stage, not distract from it.


4) Collaboration with the rest of the production team is crucial in theater. How did you work with the director, set designer, lighting designer, and other team members to ensure that the sound design aligns with the overall vision of the production?

Collaboration is absolutely the most important aspect of this whole thing. I try, on every show I work on, to make sure I’m checking in frequently with the director to make sure we are on the same page. This show in particular was written specifically to be scored, and therefore required even closer collaboration than usual. I had most of the music written, at least in draft form, by the time rehearsals started. The sound effects followed soon after. This way, our Director Colin Waters and the cast knew exactly what to expect and were able to choreograph their movements to the music. They were also able to reach out to me and adjust things as we went. With sound effects, it’s very helpful for the actors to hear them as much as possible in rehearsal. If they’re expected to react to, say, a thunderclap or a gunshot, it’s best that they have that available early. 

I also worked closely with our Lighting Designer Caleb Garner. This show, as you might expect, is full of thunder. This is the most obvious need for collaboration between sound and lights. But it doesn’t stop there! Caleb also needed to understand the timing of the music and other sound effects in order to create his beautiful looks and effects. In many cases, we would discuss an effect together, and often even gave each other ideas throughout the process.


5) What is your approach to designing and programming sound effects for specific moments or scenes that require precise timing and coordination with other elements of the production?

Again, this is all about collaboration. As I mentioned in the previous question, having sound effects in rehearsal is very helpful with developing timing. It’s also crucial that I communicate closely with the Stage Manager. Imani Lloyd is responsible for making the sound effects happen exactly when they need to, as well as coordinating all the other aspects of the production. She knows, down to the syllable, when each cue needs to go and is truly the central nervous system of the production. I also try not to get too precise about where I think cues need to go. Imani and Colin have been rehearsing the play night after night, it is important that I trust them to know when things work best.


6) Finally, what excites you the most about our audiences experiencing CLUE: ON STAGE and hearing your original score and sound design?

From a personal perspective, I’m always excited for a show that involves a lot of composition. Creating music is my favorite part of my job, and I love to share that with audiences. But I’m more excited because this isn’t a presentation of my music, it’s the product of dozens of people each putting their creativity and passion into the production. I’m so excited about the set, props, and costumes (designed by Adam Jehle, Aline Toloto, and Hayley O’Brien respectively), but I’m also endlessly impressed by everybody else working behind the scenes, from the whole costume and scene shops to our backstage crews, and the folks in administration as well. That’s why I love making theater – it’s all about the group effort and no single person is essential.


Get your tickets to see CLUE: ON STAGE, running October 18th – November 5th, at CharlestonStage.com.

Luke Walchuk has worked in the live sound industry in one form or another since 2004. He gained experience in cruise ship entertainment, amusement parks, live music, and corporate audio before deciding that theatre was the most creatively fulfilling work he could be doing. He went on to earn a Master of Fine Arts in Sound Design and is especially happy to be here at Charleston Stage.

Behind the Curtain: Caleb S. Garner, Lighting Designer for “CLUE: ON STAGE”

We spoke with Caleb S. Garner, our Lighting Designer, bringing his skills to the Dock Street Theatre once again in our production of CLUE: ON STAGE. Get your tickets to the show here, and read on to learn about his artistic process in designing the lighting for this hilarious whodunit!


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

I did not know the movie until I was in undergrad, so I didn’t really approach the production with the same nostalgia factor that several of the other production members had. When I saw it for the first time, I was especially drawn to the larger-than-life characters in literal life or death situations. They take themselves so incredibly seriously, and yet most of the things they say and do are absolutely not serious and irreverent. It’s like your group of friends sitting around the dining room table playing the game together and having fun. We poke at each other, we over-act our characters, we take ourselves too seriously, and then we laugh! I think that’s my favorite challenge of this play – How can we make it a serious, noir-style, murder mystery that’s also fun and wacky with lots of physical comedy? It’s been a great balancing act. 


2)  The play features a variety of scenes set in different rooms of the mansion, each with its own mood and atmosphere. How are you using lighting to create distinct settings and enhance the storytelling within these spaces?

The entire team has been working hard to shape the world of the play for several months now.  When we first met as a production team, all of the designers brought in images that we felt reflected the tone of the script. We discussed all of our images, and picked from them to create a unified collage that represented the visual identity of the production. Below is a look at what we decided as a team.


I really responded to the colors of the actual Clue game pieces and the use of strong colors and highlights to create drama and emphasis.  Each room has its own furniture pieces and shaping that gives it a unique character. I tried to add to it by bringing in the highlights and colors you see in the collage – a beam of light here, a window there, and some fun with the angle and direction of light.  One of the things I’m especially proud of is the work that scenic designer Adam Jehle and I did in trying to separate the distinct locations within the mansion. We have a series of mobile doors with transom windows that I lit internally so the light level and color coming from the window can be individually changed as they are moved throughout the space. We also have a fun series of portraits on the upstage wall that do something special that I can’t give away – you’ll have to see for yourself! 


3) CLUE: ON STAGE often involves quick changes in lighting to accentuate comedic moments, surprise reveals, or suspenseful scenes. How did you choreograph and execute these lighting cues to maximize their dramatic impact?

Lighting, like comedy, is all about the timing.  A well-timed light cue could be a joke in itself – and in several places it is! There are several places in which the lighting design works together with sound to help accentuate comedy onstage. In the opening sequence of the show several of the characters recognize each other upon seeing each other in the mansion. The actors have this exaggerated gesture of shock or disdain, but we really emphasize it with a change of light and a sound. The combinations of acting, light, and sound help turn a small moment into a big joke. 

In addition to the images in our collage, I was also really inspired by some Edward Hopper paintings. They were really intense and sharp. Just like the characters onstage, they took themselves very seriously. I really liked the idea of these funny moments happening within a stark Hopper painting, so I tried to incorporate some of his elements into the show. It’s a life-or-death situation, it’s melodramatic, and it’s very, very funny. 

Edward Hopper, Conference at Night


4) Mystery plays often require careful use of lighting to build suspense and enhance the mystery-solving aspect of the story. How did you approach creating and controlling the suspenseful lighting effects in the production?

Costumes and scenery help to physically shape the world of the play, but lighting and sound shape the way the audience perceives the play.  As a team, we were also very interested in the way that light helped to shape the bodies and scenery in a “film noir” style with strong highlights and deep shadows. It was a cool way to contrast the sharp edges and lines of the original Clue game board, the Victorian style of the scenic design, and the softer, curvier contours of the costume design. It helps to frame each suspenseful moment in a way that is visually interesting and ghostly. I found that the more I lean into the odd angles and colors, the more intense the moments in the scene became.

Steven Assael, Bride With Cards


The opening sequence of the production starts with Yvette the maid in front of a TV listening to a broadcast of Senator McCarthy. She is lit primarily from the TV, with some light from above and the sides filling in. I tried to capture the spirit of the image above, Bride With Cards, in using a primary source of light from an interesting angle to turn Yvette watching TV into a strong, mysterious image to set the tone of the show from the beginning. A few lightning flashes help, too! 


5) What is your approach to designing and programming lighting effects for specific moments or scenes that require precise timing and coordination with other elements of the production?

When reading the script, there are several things that are written for you from the beginning. Things like blackouts, lightning flashes, and scene changes are already written into the script, but my job is to look beyond what is written and see what else we need to tell the story. I like to think of this in three separate ways. The first thing I do is think about how I can support the other design elements in building the world of the play. What are the literal things I need to reinforce? How can I light the scenery in a way that helps to shape the room? How can I reinforce the scenic and costume designer’s color choices? How do I reveal the forms onstage, and how do I hide the things that don’t need to be seen? How do I work with sound to reinforce mood and tone?

From world-building, I like to shift to the rhythm of the text. I hear the script of the play like music: there are always themes, mood changes, repetitions, dynamics, and rhythms. I like to listen to the way the actors say the lines to try and get a sense of their timing. The way they play to the text can determine the speed of the lighting cues, moments to highlight, and help to establish the tone of the lighting. 

The third thing I think of is where the actors will physically be onstage. Part of my job is putting light where we need it and taking away from the places we don’t’ need it. When we’re in tech rehearsals for the show, I like to call it “big paintbrush lighting,” and “small paintbrush lighting.” Sometimes the scenes with large numbers of actors or scenes where most of the playing space is used require me to use my ‘big paintbrush’ and light large sections of the stage. Think back to the big dance numbers in The Prom or in Once on This Island, where I use big, broad “brush strokes” to make sure the whole space is attractively lit. Clue needs my “small paintbrush.” We’ve got tight, specific scenes where we only want to highlight a single actor and hide lots of secrets onstage. Every show requires both paintbrushes, but it takes a good eye and some great collaborators to know which to use. 


6) Were there any technical challenges or special effects in CLUE: ON STAGE that you anticipated, and how did you plan to address them through your lighting design?

One of the major technical challenges for Clue is that it is playing alongside The Lightning Thief. It is hard to give each show its own unique identity with the technical limitations of the space. Lightning Thief has several pieces of flying scenery that need to be revealed throughout the show, but that means that the lights for those pieces of scenery are no longer available to use in Clue. I’ve had to really think critically about the needs for each show and how we transition from one show to the other.  There’s always a big battle between what I want artistically and what I can physically do with the limitations of time, equipment, and other shows. 

Another challenge in this show was lighting the transom windows in six movable doors. I had to find a way to light, power, charge, and control the transom windows as they are moved across the stage in an elaborate Scooby-Doo-esque chase sequence. I had to custom build several components of the door windows, so I’m really excited about how they turn out! You can see the unlit doors in the recent rehearsal photos.


7) Finally, what excites you the most about our audiences experiencing CLUE: ON STAGE and witnessing your lighting design?

This show is very different from the last few shows that I’ve done, so I’m very happy to put on such a snappy show that really allows me to play with some great colors, unconventional angles, and a lot of wonderful collaboration with some of my favorite people. I’m excited for the audience members to experience a lighting style that’s a little different than what we usually offer that is presented in such a funny way. I hope that everyone has as much fun watching the show as I have designing it!


Get your tickets to see CLUE: ON STAGE, running October 18th – November 5th, 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.

Meet Our Alyssa Greene: Resident Actor Gracie Brantley


Gracie Brantley, first-year Resident Actor in our 46th season, has shined in the character of Alyssa Greene in our season-opening production of THE PROM! Get your tickets here before it closes on September 17, and read on to hear about how she’s prepared for this dynamic role.

Jhonika Wright and Gracie Brantley as Emma and Alyssa in THE PROM


Please introduce yourself! What are you looking forward to with Charleston Stage as a Resident Actor this year?

I’m Gracie Brantley, in the role of Alyssa Greene in The Prom, and I’m a first year Resident Actor here at Charleston Stage! Being here has been an absolute blast so far, and I can’t wait to continue to make some cool theatre magic happen with this incredible group of people. 

What do you love about theatre as an art form?

My love for theatre really presented itself during quarantine. There’s something so special about the communal aspect of theatre that I missed during lockdown, and now that things have returned to a relative normal, I’m reminded of how freakin’ awesome it is to be in a room full of people who are collectively gathered to be moved by art. It’s especially great when the story we’re telling is as relevant and powerful as The Prom.

How have you been preparing for your role in The Prom?

Jhonika, my fellow Resident Actor in the role of Emma, Alyssa’s girlfriend, and I did a lot of our preparation for this show together. Emma and Alyssa have been in a relationship for about a year and a half, so we wanted to really define what their communication with one another would look like after that amount of time. Their relationship is a huge part of the show, so we wanted to make sure we got it right. But in all honesty, the finale is what required the most of my preparation. Singing and dancing at the same time is not easy, and lots of cardio was required!  

Gracie Brantley and Jenna Newman as Alyssa and Mrs. Greene in THE PROM.


Tell us more about your character. What do you want us to know about her?

Alyssa’s song “Alyssa Greene” wonderfully explains who Alyssa is. She’s smart, she’s popular, she works hard to be involved at school, and in a way, she is very similar to her mother. Our Director (and Charleston Stage’s Artistic Director) Marybeth Clark and I talked a lot about Alyssa’s need to please her mother simply because that’s what she’s been trained to do her entire life. She has a “Miss Congeniality” complex that forces her to perform with a smile even the things she doesn’t want to do at all. This creates the stress we see Alyssa experience in the show as she’s torn between being inspired be herself like her girlfriend Emma feels confident to do, or continue to please her mother and keep the peace at home. It’s important to know that Alyssa wants nothing more than to be brave and openly display her true self, but she lets her fear be bigger than her courage. Thus, she unintentionally makes a mess of the situation before she realizes that her life would be a lot easier if she was honest with herself and the people she loves. 

What has come easily in preparing for this show? What has been more difficult?

The easiest part of preparing for this show has been building the relationships Alyssa has with Emma and her mom. Working with Jhonika (Emma) and Jenna (Mrs. Greene) has been an absolute pleasure, and I feel so lucky to tell this story with them. They also make one of the more difficult parts of the show so much easier. There are a few sequences in the show with two scenes happening simultaneously onstage, and getting the cues right with the orchestra and other actors seemed very daunting at first. Thankfully, everyone has been so prepared and professional that we were able to easily put the pieces together!

We also have a pretty difficult quick-change backstage during the finale, and figuring out the logistics of that proved to be a challenge. Luckily, we have a fantastic crew made up of our phenomenal TheatreWings apprentices, and with their help, we’ve been nailing it every time! 

The cast of THE PROM at Charleston Stage.


What do you hope audiences will receive and take away with them after seeing this show?

I hope our audiences will take away the importance of being open and receptive to everyone; I hope they pick up on how peaceful life could be if everyone felt free to live truthfully and unapologetically as they are without fear of judgment.

What is your favorite show of all time?
Sondheim’s Sunday in the Park with George – a masterpiece!

Season 46 Resident Actor Gracie Brantley


Gracie Brantley is thrilled to be joining Charleston Stage’s Resident Acting Company for their 46th season! Originally from Tennille, GA, Gracie studied acting at Columbus State University where she graduated with a B.F.A. in Theatre Performance. Her previous productions include the Riverside Theater’s productions of Pippin (Leading Player) and A Midsummer Night’s Dream (Puck), both of which she received an Irene Ryan nomination for. While in school, she often worked at Georgia’s Historic State Theater, the Springer Opera House, where she was involved in productions such as The Bodyguard (Karaoke Girl/Back-up Singer Swing), Best Little Whorehouse in Texas (Ensemble/ Shy U.S.), and educational children’s theatre productions of Click Clack Moo (Cow 1) and The Rainbow Fish Musical (Starfish). Recently, Gracie won Region 4 of the Kennedy Center American College Theatre Festival’s Irene Ryan award for Classical Acting. Keep up with Gracie through Instagram: @gracierbrantley.

Charleston Stage’s THE PROM runs August 23 – September 17 at the Historic Dock Street Theatre in the heart of downtown. Get your tickets here before they’re gone!

Meet Our Emma Nolan: Resident Actor Jhonika Wright


Jhonika Wright, second-year Resident Actor in our 46th season and last seen as Ti Moune and Erzulie in ONCE ON THIS ISLAND, has been leading the cast in the role of Emma Nolan in our season-opening production of THE PROM! Get your tickets here before it closes on September 17, and read on to hear about how she’s prepared for this special role.

Jhonika Wright and Joseph Spiotta as Emma Nolan and Barry Glickman in THE PROM at Charleston Stage.


Please introduce yourself! What are you looking forward to with Charleston Stage as a Resident Actor this year?

Jhonika Wright here! I graduated with my BFA in Musical Theatre in 2020. I’m from Maryland, and this is my second year as a Resident Actor with Charleston Stage. I’m so happy to be back for another year in Charleston! My favorite aspects of being a Resident Actor are not only getting to know my fellow “RAs”, but also seeing how we all grow and transform through this company’s mentorship. I came into this job thinking I was only one “type” of performer, and while working here I have been cast in a wide range of roles! I love that I’m being challenged and trusted to take on these characters, and I can’t wait to see what this season has in store for me this year.

What do you love about theatre as an art form?

Theatre has remained a constant creative outlet and form of expression for myself, and has shaped me into the person I am today. I discovered a love for myself through my love of performance. As a performer who is a woman of color and plus-size, it has allowed me to be comfortable in my own skin and to live my truth authentically. In theatre I discovered my voice and my want to connect and impact those around me through storytelling and representation on and off stage. 

How have you been preparing for your role in The Prom?

I started my table work for this show very early, and have kept a notebook with me to write down any thoughts or discoveries I’ve had about Emma through the rehearsal process to contribute to my previous thoughts. The very first time I met with Gracie (Alyssa Greene) to talk about Emma and Alyssa’s relationship, it resulted in a 2+ hour conversation! We also discovered a book adaptation of The Prom that was so helpful to read.

I gave myself time to deeply examine who Emma is as a person from her likes, dislikes, how I imagined she would decorate her room, what kinds of things she does at school, what her coming out experience was like, how she navigated being in an interracial relationship in a small town, etc. Once I felt that I knew who she was inside and out, I then looked at Emma’s relationships with everyone that she does and doesn’t interact with on stage, and broke down all of her songs to discover the true meanings behind them. It’s very easy to miss the real message to these songs when they all sound so upbeat.

It was very important to me to get Emma right. She has so many layers, so I wanted to make sure I explored that instead of playing to her surface level of what people might think they know about her. I wanted her to be represented in the best way possible, especially for queer teens and people of color to feel seen through her experiences.

Jhonika Wright and Clyde Moser as Emma Nolan and Principal Hawkins in THE PROM at Charleston Stage.


Tell us more about Emma. What do you want us to know about her?

“Emma Nolan is the bravest and strongest person on the planet, but she has no idea.”

Emma keeps her head down in an attempt to keep a low profile, going through the motions to get to graduation day so she can finally leave Indiana. She has lost her parents, friends, and now Prom all because she wants to be her authentic self. When we see Emma around other students and adults, she displays a hard exterior and wall to protect herself. However, when we see Emma around Alyssa and Principal Hawkins, people she feels safe around, her gentle side is revealed – it’s a drastic shift.

Emma is extremely creative, smart, a fighter, and has a big heart for those that are close to her. I admire her courage to advocate for what she wants and fight for change, especially in a small town surrounded by people who claim to hate her. It has been an adventure of a lifetime as an actor getting to explore who she is down to her core.

What has come easily in preparing for this show? What has been more difficult?

I always knew that this show would challenge me in the best way possible. The Prom is demanding vocally, with dancing, and acting. I took extra dance classes so that I could get back into the swing of picking up choreography quickly and to build the stamina needed to sing and dance simultaneously. My vocal warm up became more extensive for this role; how I take care of myself vocally has changed a lot.

With this story carrying a more intense weight, I started my table work and acting process much earlier than I have for other shows. The plan of preparation to take on this show was easy, but executing and sticking to these new regiments was sometimes difficult. I had to push myself to not give up and to stick to what I had planned so that I could give this show the absolute best of me. It’s so nice to feel and see that my hard work is paying off!

What do you hope audiences will receive and ponder after seeing this show?

We live in a country where the rights of POC and LGBTQIA+ are threatened daily, and this show is just a small glimpse into what queer teens go through. I want The Prom to leave our audiences more open-minded about these issues. At the end of the show we see a divided community come together, and I can only hope that this production gives us an optimism to hope that in despite such polarizing beliefs in our country, we can come together to accept and protect the rights of one another.

Jhonika Wright and Dayna Nevers as Emma Nolan and Angie Dickinson in THE PROM at Charleston Stage.


What is your favorite show of all time?

HADESTOWN! I saw it on Broadway for the first time in 2022 without knowing anything about it, but I walked out of the theatre speechless and so moved. It’s a show that gives me the giddy feeling of hearing and seeing it for the very first time anytime I listen to it.

Charleston Stage second-year Resident Actor Jhonika Wright.

Jhonika Wright is thrilled to be returning to Charleston Stage for her second year as a Resident Actor! Originally from Maryland, Jhonika spent most of her life in Arkansas where she graduated from Ouachita Baptist University and received her Bachelor of Fine Arts in Musical Theatre. Her favorite roles include Ti Moune and Erzulie (Once On This Island), Wendla (Spring Awakening), Cairo (We Are the Tigers), Grizabella (Cats), and Yertle the Turtle (Seussical the Musical). Sending all the love to her incredible family and friends for their endless support, “This one is for you!” To keep up with all things Jhonika, you can visit her Instagram: @jhonikaaaa

THE PROM performs at the Historic Dock Street Theatre until September 17th. Get your tickets here before they’re sold out!

Behind the Curtain: Adam Jehle, Scenic Designer for THE PROM


We spoke with Adam Jehle, our Resident Scenic and Projector Designer, bringing his skills to the Dock Street Theatre once again in designing our set for THE PROM. Get your tickets to the show here, and read on to learn about his artistic process in creating the sets for this special musical!



Share with us your artistic background. How did you get into theatre and set design?

I have been doing theatre since middle school, always acting at first. It wasn’t until college that the world of scenic design was expanded for me, and I absolutely fell in love with it. The creative expression and the seemingly endless amount of ways to create a show differently was all incredibly exciting and fascinating to me. I’ve always been a visual storyteller, but scenic design really felt different. I eventually graduated from Missouri State University with a BFA in Design, Technology, and Stage Management and immediately started at Charleston Stage doing what I love. 


Which styles of theatre do you gravitate towards the most? Why?

I have always been a modernist and an expressionist when it comes to the theatre I enjoy designing. I like to create things that have never been seen before and are emotionally story driven. I want the audience to be immersed in the world I create – not just because it is beautiful, but because I want them to empathize with the characters, feel what they are feeling, and be inspired by the journey. It’s one of the many reasons it’s so fulfilling if I’ve done my job right.



What has inspired you as you create your set designs for The Prom? What are your dreams for Charleston Stage’s visual presentation of this special show?

For The Prom, there are two I really jumped into. One was this idea of “openness.” All the characters, whether they want to or not, experience or need to experience an open mindset in order to grow. So to translate that visually, I wanted to keep the set very open and spacious, leaving literal room for the characters to grow. It’s like they are plucked out of their fully realistic world and placed in this abstract open space where they are forced to open up to each other and grow.

The other concept we chose to focus on is the idea of “assumptions.” Again, almost everyone in the show has strong assumptions about those unfamiliar to them. The Broadway stars think the Indiana folks are backwater hicks, and the Indianians think the Broadway stars are narcissistic. Scenically, that means making the set and props almost stereotypical. What does Indiana look like stereotypically? Corn fields, disheveled schools and ghost towns. What does New York look like? Broadway signs, neon lights, and a more liberal atmosphere. So I tried to make all the scenic pieces recognizable – something you have seen before and would say, “oh yea that’s exactly what Applebee’s looks like.”



What has come easily as you design this show? Which aspects have proven to be more challenging?

The easiest part for me was creating the school. I made it look and feel like my own high school I grew up in. The hardest part for me, as it is for any big musical nowadays, is the large number of different locations. Musicals nowadays are like movies – every scene is in a different location that is very distinct from the others. The challenge is to create a set that weaves in and out so the audience can follow what is going on.



What are your favorite shows of all time?

My favorite shows are Macbeth, M. Butterfly, Titanic, Cabaret and Hamilton.


THE PROM, Charleston Stage’s MainStage opening musical, runs August 25 – September 17 at the Historic Dock Street Theatre. For tickets, visit click here.


Adam Jehle, originally from Nixa, MO, is the Resident Scenic/Projections Designer and Assistant Technical Director for Charleston Stage. His credits include Projection Design for Murder on the Orient Express and The Best Christmas Pageant Ever. Scenic Designs for The Addams Family – A New Musical, Native Gardens, Charlotte’s Web, Black Pearl Sings! and Kinky Boots for Charleston Stage. Technical Direction for all of Charleston Stages’ 45th Season. Other credits are scenic designing shows such as Cinderella and Mamma Mia! at Crane River Theatre in Nebraska, and Titanic, Cabaret, and Groundhog Day at Stagedoor Manor in upstate New York. He received his B.F.A. in Design, Technology and Stage Management from Missouri State University in 2020. Adam is excited to be Designing other shows for Charleston Stage this season including The Prom, Clue: On Stage, A Christmas Carol, and The Trip to Bountiful.

Behind the Curtain: Cara Dolan, Choreographer for “THE PROM”


We spoke with Cara Dolan, longtime friend and choreographer for Charleston Stage bringing her skills to the Dock Street Theatre once again with THE PROM. Get your tickets to the show here, and read on to learn about her artistic process in creating the movement for this special musical!



Share with us your artistic background. How did you get into theatre and dance?

I’ve been doing theatre since I was a kid – I started taking dance around 5 and never stopped! I was really lucky to grow up near Flat Rock Playhouse in NC and train there for the majority of my childhood. I then went to Florida State University where I got my BFA in Musical Theatre. 


Which styles of theatre do you gravitate towards the most? Why?

I tend to gravitate towards musical theatre. Doesn’t everyone love it when people break into song and dance?!



What has inspired you as you create choreography for The Prom? What are your dreams for Charleston Stage’s presentation of visual movement for this special show?

The movement in The Prom is really energetic and fun. It’s more contemporary than many of the previous shows we’ve done at Charleston Stage, which has been uniquely fun to work on. I hope our audiences will feel how much fun the actors are having dancing to this score. 


What has come easily as you choreograph this show? Which aspects have proven to be more challenging?

So much of the choreography in this show is more contemporary and not your typical “music theatre” style of dance. That has been challenging, but also the most fun part. 



What are your favorite shows of all time?

My favorite shows are West Side Story, Crazy for You and A Chorus Line.  Dance shows for the win!



THE PROM, Charleston Stage’s MainStage opening musical, runs August 23 – September 17 at the Historic Dock Street Theatre. For tickets, visit CharlestonStage.com.


Cara Dolan received her Bachelor of Fine Arts in Music Theatre from Florida State University and has danced and performed at a number of leading theatres, including The Flat Rock Playhouse, Central Piedmont Summer Theater, The Papermill Theater in NH, as well as Charleston Stage. She has taught dance and theatre for more than 9 years and has choreographed numerous professional productions including Charleston Stage’s Chicago, The Wiz, Legally Blonde: The Musical, Anything Goes, 9 to 5: The Musical, Annie, Next To Normal, Gershwin at Folly, Pinkalicious the Musical, Young Frankenstein, Catch Me If You Can: The Musical, The Producers, Mary Poppins, Hairspray, White Christmas, A Christmas Carol, Disney’s The Little Mermaid, Mamma Mia!, Disney’s Beauty and the Beast, Footloose, Elf The Musical, and The Addams Family – A New Musical. Cara would like to thank her boys Chris, Gavin, and Brody for all of their love and support.

Behind the Curtain: Claire Brenia, Scenic Designer for THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL

We are so grateful for the talent that Claire Brenia, Charleston Stage’s Shop Technician and Scenic Painter, brings to the table in designing the scenes for THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL, running July 22-30. Hear from her about her design process and artistic styles below:


Share with us your artistic background. How did you get into theatre and scenic design?

I got involved in theatre during high school, through my visual arts classes. The theatre kids knew I could paint and recruited me to help them with painting flats for their shows, and from there I became involved in our productions’ scenic design, performance, and even some costume design for my own roles! By senior year of high school, I knew I wanted to go to college for scenic design and I studied at the University of Southern Mississippi where I received my B.F.A. in Theatre Design and Technology.


Which styles of theatre do you gravitate towards the most? Why?

I tend to enjoy working on weirder, niche shows, because they lend themselves towards more interesting themes and employ unconventional theatre techniques (or, at least, I find that a designer has more leeway to do something unconventional).

I’m still figuring out my “style” of theatre, but of the shows I’ve worked on so far, the ones that have resonated with me most are those that are poetic, and/or pose challenging stories. I take a very literary approach when working on my shows, so it’s valuable to me when the scripts I design from have depth with their themes and an interesting use of language.


What has inspired you as you create your designs The Lightning Thief: The Percy Jackson Musical? What are your dreams for Charleston Stage’s visual presentation of this special show?

Early in our process, our director (who is also our Director of Education at Charleston Stage!) wanted the show to be recognizable for our younger audiences, and so she steered us in a direction that took inspiration from the Percy Jackson graphic novels.

In the scenic design, I didn’t want to directly copy imagery from the Percy Jackson graphic novels, but rather reference the larger framework of comic book conventions. In the set I allude to comic book page layouts, print media textures, and our painting style especially takes textural influence from the first Percy Jackson graphic novel’s art style.

Scenic Design for THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL, by Claire Brenia


What has come easily as you design the show? Which aspects have proven to be more challenging?

It was easy to establish the “setting” of the show as an amphitheater because as a location it ties together the setting of Camp Half-Blood with ancient Greek architecture, which is relatable and recognizable to an audience. 

For me, it was challenging translating all of the play’s different locations into the setting of our amphitheater. I think we landed in a really interesting place, though, that invites the audience to suspend disbelief and gives our actors opportunities to explore more actions that tell us where we are in the show. 

Scenic Design for THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL, by Claire Brenia


What are your favorite shows of all time?

My favorite musical is Ragtime, which I saw for the first time when I worked on it in 2019. I loved the music and thought the themes were very powerful. My favorite straight play is War Horse, produced by the U.K.’s National Theatre because it is such a cohesive design. My favorite show I have worked on is Blood Brothers, a weird rock-opera, synth-pop musical based on wives-tales in England.


Get your tickets to see THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL, running for a limited engagement July 22-30, at CharlestonStage.com.