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.

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.

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!  

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! 

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!

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!

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.

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.

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.

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.

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!

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.

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.

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.

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. 

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.

David Jordan Baxter, our Assistant Costume Shop Manager and Cutter and Draper, has brought incredible talent to designing the costumes for our production of THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL. Hear about his artistic style and design process below:

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

I got my B.A. in music with a concentration in Classical Voice from Kentucky Wesleyan College and while I was there I worked as a local dresser for touring shows that would come through our theatre. I also helped a local theater company, Back Alley Musicals, with costumes for their larger productions. After graduating, I spent a few summers at the Sharon Playhouse in Sharon, Connecticut as the Costume Shop Manager, and was the Wardrobe Supervisor for the Off-Broadway production of Martin Luther on Trial.  After that I was the star dresser on the National Tour of Kinky Boots. While on tour, I applied to the M.F.A. Costume Design program at Florida State University, and was accepted to attend that fall. I spent the next three years at FSU taking classes in both costume design and technology. While I do love to design, technology has become my primary focus.

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

I find myself being pulled toward shows with great concepts and larger-than-life aspects. I also really love puppets, so I’m definitely a fan of Avenue Q, Little Shop of Horrors, and Julie Tamor’s production of Mozart’s The Magic Flute. I think the reason I am drawn to shows like this is, again, the larger-than-life aspects you can achieve with puppets. To quote Tammy Faye Baker, “Everybody loves puppets!”

Featured (Left to Right): Charleston Stage Resident Actors Brendan Considine as Grover, Cody Elsensohn as Percy Jackson, and Chloë Wendler as Annabeth in The Lightning Thief: The Percy Jackson Musical. Photo by Reese Moore Photography

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?

In talking with the director, Rylee Coppel, we discussed that we both really like the visual quality of the graphic novel version of Percy Jackson and the Lightning Thief. We talked about what aspects from the graphic novel we wanted to include, so keep an eye out for easter eggs if you’re a fan of the books! I also thought about the use of “Mist” in the novels. It is a magic spray that mythical beings use to make themselves appear human while in the human world. Playing on the idea of what these creatures would look like as the “Mist” began to wear off, I have designed some new ways to look at a minotaur or a flying fury!

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

The easiest part has been putting together modern costumes for the teenage characters. The more challenging aspects have been creating the designs for the monsters–as I mentioned in the previous question, figuring out where these monsters are in their transition between human and monster.

Featured: Charleston Stage Resident Actor Cody Elsensohn as Percy Jackson. Photo by Reese Moore Photography

What are your favorite shows of all time?

Okay, big toughie here. In no particular order…She Loves Me, Gypsy, The 25th Annual Putnam County Spelling Bee, Godspell, Sunday in the Park with George, and A Gentleman’s Guide to Love and Murder. 

Save your seats for THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL, running for a limited engagement July 22-30, at CharlestonStage.com.

Featured: Charleston Stage Resident Actors Cody Elsensohn as Percy Jackson, Brendan Considine as Grover and Chloë Wendler as Annabeth in The Lightning Thief: The Percy Jackson Musical. Photo by Reese Moore Photography

We sat down with Lauryn Kay, Charleston Stage’s new Institutional Giving Manager, to learn more about her passion for the performing arts and community enrichment in Charleston. Read below:

Tell us about your background in the performing arts.

I grew up with a strong passion for music that came from singing in school choirs and shows. My favorite part of high school was singing and dancing in show choir, and I knew music and performing arts would always be a big part of my life. I studied music at Charleston Southern University and received my Master’s degree in Vocal Performance at the University of Florida. During this time, I sang in choral ensembles, operas, and theatre productions. My favorite roles were The Witch (Into the Woods) at CSU and Rosina (Barber of Seville) with UF Opera Theater. After college, I worked in arts administration and frequently performed with Gulfshore Opera in Fort Myers, FL. Since moving back home to Charleston this year,  I have participated in concerts with The King’s Counterpoint choir, Hilton Head Symphony Orchestra, and worked for Spoleto Festival USA.  

Nonprofit development is a special vocation of work. What does serving the arts community in Charleston mean to you?

The arts community in Charleston has a special place in my heart. This is a city I love to call home! I feel privileged to work downtown in the same places I watched musicals and performed in choir concerts. I want to serve this community by helping to make theatre and live performances more accessible to Charleston locals and visitors. Through this mission, theater lovers are united! 

What excites you about Charleston Stage? 

Charleston Stage is beaming with quality theater productions and diverse educational programs. Amongst this, there is a sense of community and collaboration that I’m thrilled to join! 

What is your favorite show of all time?

If I had to pick a favorite, it’s the all-time classic, West Side Story. I played Anita at CSU and have seen it more times than I can count –  it never gets old! 

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Steven Prince Tate is all energy and enthusiasm, especially for his craft in dance and choreography and his artistic dreams for our production of ONCE ON THIS ISLAND, coming to the Dock Street Theatre stage this April. Hear from him about his inspirations and visions for the show below:

Share with us your artistic background. How did you get into dancing and choreography?

My artistic background is a self-made journey. I was, and still am, the kid that LOVED watching BET, MTV, VH1 and whatever awards show or artist special was on TV. I would study the hottest video at the time, learn the moves, then perform them at school dances with my cousin. Everything that I learned movement-wise was self taught until I joined my elementary school’s cheer and step team. My senior year in high school was when I was introduced to my first “dance studio.” My aunt took me to a masterclass that was being held and saw how much I gravitated to learning and picking up movement – she signed me right up! Unfortunately, that was one of the worst experiences I’ve ever had and almost made me not want to pursue dance. However, when I went to college, I signed up for my first modern dance class without knowing anything about the genre. It made me fall in love with dance and choreography. 

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

This is kind of a hard question – not because of what calls to me but because of what is wanted at the moment. The first style I learned was the social/cultural form of Hip-Hop, but now I gravitate more towards the Contemporary movement. Though every style of dance has the capability of storytelling, Contemporary allows these stories to be avant-garde. In this you can stray away from the literal and become a moving parable: having the audience search for the meaning you are sharing while allowing them the space to create their own. Though it can be all over the place at times, I enjoy the task of unpacking a theme through dance. 

What has inspired you as you choreograph Charleston Stage’s production of Once On This Island?

To be honest, what has inspired the choreography for this show are the people, the landscapes being developed, and the imagination of our design team. Collaborations are very important to me as a creative person. Being in the space with the actors while making sure we pull the best out of them, seeing how they gravitate towards different movements and characters, and the ability to adapt to changes allows room for me to create beautiful moments for our actors and audiences.

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

What has come easily to me has been creating the movement, while it has been more challenging to consider the other moving parts in the show, such as our sets and props. When creating any ballet there is a blank canvas – the only moving parts a person need to worry about are the other moving bodies and costumes. However, with theatre the dancers and choreographers always need to keep the set and prop pieces in the back of their minds.

What are your favorite shows of all time?

Now this is a hard question, but I am going to answer it to the best of my abilities! I love comedies and living in fairy tales. 

1. The Lion King: the Musical: The mechanics of the costumes and how they function with the actors’ movements are fascinating to me. My favorite scene is “Mufasa’s Face in the Stars.” This was the first musical I saw in New York when it first premiered, too.

2. The Book of Mormon: This show makes me laugh so much. I loved the social awareness tone while being salacious. 

3. Tina: The Tina Turner Musical: I loved how specific and distinct the role of Tina Turner has to be. Whoever plays her MUST do their research!

Steven Prince Tate is a Memphis, TN native and began his dance training attending Middle Tennessee State University in Murfreesboro, TN. While attending MTSU, he performed works by River North Dance Company’s Mari Jo Irbe, Bill T. Jones dancer and choreographer Stefanie Batten Bland (CSBB), Cloud Gate Dance Theater and CSU dance professor Chung Fu Chang, Venus Fly Trap B-Girl member Teena “Teena Marie” Custer, Dance Magazine’s 25 Choreographers to Watch (2006) Ursula Payne and many others. Furthering his dance training , Steven received scholarships from the American Dance Festival (2007-2009), apprenticed for Shelter Dance Repertory and Company Stefanie Batten Bland, has attended the Alvin Ailey school (2011) and Complexions Contemporary Ballet Intensive (2016) performing commissioned works by Rudy Perez, the William Forsythe project, Butoh company Dairakudakan, Laura Dean, Mark Haim, Hair: the Musical performer Judine Summerville, Kim Neal Nofsinger, and Dwight Rhoden. Steven holds a degree in Theater and Dance with a minor in Gender Studies and is a member of Alpha Psi Omega Theater Honor Society.

In 2010, Steven became a trainee and company member for New Ballet Ensemble and School. He has performed in works by Frankfurt Ballet dancers Francesca Harper (The Francesca Harper Project), Elizabeth Corbett, Pittsburgh Ballet Principal Alan Obuzor (Texture Contemporary Ballet), Soloist Kaori Ogasawara, Opera Memphis’ “Aida”, guested for Dmitri Roudnev Children’s Ballet Theater’s annual Nutcracker performance: the Prince and Arabian. In 2013, Steven’s talent was featured in a commercial for reality dance show So You Think You Can Dance Season 10 Memphis Audition. In 2014, Steven was appointed Associate Director of contemporary dance company Bridging Souls Productions and has choreographed several works for the company: From Me to You (2014), Until Daybreak (2015), HIM (2016) and social justice piece While We Are Dying (2016). He has taught classes and workshops for the Memphis Grizz Girls, Ohio University, James Madison University, University of Memphis, Sugar Strut
Dancewear: The Sugar Tour, Crosstown Arts, Crosstown High School, Project Motion, SubRoy Dance Studios, The Buckman Conservatory, Young Actors Guild, Kipp Collegiate Elementary and Middle School, DanzHouse, Studio Gray, The Boys and Girls Club of West Memphis Arkansas, St. Mary’s Episcopal School, STAX Music Academy, Christina’s Dance Center (Nashville, TN), Memphis Jewish Community Center Summer Camp, Memphis Black Arts Alliance, Company d, Dazzle Baby Ballerina Certified, Woodland Presbyterian, Marion Visual and Performing Arts Center, and Tennessee Ballet Theater, and Children’s Ballet Theater. Wanting to foster the Memphis community through dance, Steven developed his own emerging artists workshops “The Move” (2014), and “Vib-ology (2021) as well as professional and community based movement classes “ Nu-Flo & S.T.R.U.T.” (2018).

Recently, Steven’s work was featured in Essence Magazine.com, Yahoo!Life.com and MSN.com for a viral Beyonce’ inspired “Baby Reveal” video. He has choreographed for Grammy Nominated artists Southern Avenue and Marco Pave, NBC the Voice Season 21st season runner-up Wendy Molten, People.com featured artist Nedy, NBA Memphis Grizzlies’ Grizz Girls, Grandmas & Grandpas, NBE’s senior students and company, Memphis based female tap company Hot Foot Honeys, NPC Battle on the Bluff: Fitness Competition, The Buckman Conservatory, Tennessee Ballet Theatre, MBAA (Black Broadway Cabaret) Rhodes College (I Love You, You’re Perfect, Now Change), Playhouse on the Square (Ain’t Misbehavin’), Theater Memphis (Mary Poppins Jr.), Desoto Family Theatre (High School Musical Jr.), Company d, Opera Memphis and various musicians in the Tri-State area.

Courtni Riddick, our Costume Shop Director and Costume Designer for ONCE ON THIS ISLAND, has brought her talent to many of our shows since joining our professional staff in season 44. Learn about her artistic tastes and processes for designing this fantastical production, onstage at the Dock Street Theatre this April, below:

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

I originally started school in fine arts. While in school I was offered a work-study position in costume coordination. I fell in love with it, and the rest is history.

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

I love the esoteric and the fantastical. Anything that gives me an opportunity to try a new approach conceptually and artistically is interesting for me.

What has inspired you as you create your designs for Once On This Island? What are your dreams for Charleston Stage’s visual presentation of this special show?

The framing for ONCE ON THIS ISLAND is that of a community coming together to share and tell a story, utilizing whatever they have on hand to convey the beauty of a shared lore and history. I want to help the audience feel immersed in this telling, like they’re being let in on something special. With all the hard work our team is putting in, I absolutely believe they will be.   

What has come easily as you costume the show?

Collaborating with our Director, Crystin Gilmore, has been thoroughly enjoyable. She is open to and welcoming of our ideas. Her energy, attitude, and approach to this show and our team has been so inspiring.

Which aspects have proven to be more challenging?

The most challenging aspect has surprisingly been access to the unique resources and fabrics we need. Most of our really interesting fabrics we’ve had to travel hours to get or have them shipped in. 

What are your favorite shows of all time?

I would love to one day design for Sweeney Todd and Ti-Jean and His Brothers.

Courtni has been designing and building costumes for more than 15 years. Originally from central Florida, she graduated from Florida State University with an M.F.A. in Costume Design. She loves to create for the big and fantastical as well as the intimate and detailed and she is thrilled to be a part of the historic Charleston Stage team. Her recent credits include Bright Star and Murder on the Orient Express. Other credits include The Importance of Being Earnest and Eurydice.