Category: Back Stage Blog

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.

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.

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

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.

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!

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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!

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.

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!

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!

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.

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.