The Process

The Process

Love/Sick 

By: John Cariani

In collaboration with scenic designer Curtis Phillips, I drew inspiration from children’s blocks and puzzles to shape the production’s visual and conceptual world. My goal was to create a true company piece. A piece in which cast and crew worked collectively to bring the story to life. Ensemble members transformed modular blocks into functional furniture, while projections layered in atmosphere and location, providing both actors and audience with a vivid sense of place.

Two men in white outfits standing on a stage with a colorful, abstract background. One man, on the left, is gesturing towards the other, who is on the right, and there are white blocks on the stage.
A theatrical stage scene with a young woman dressed in white sitting on white blocks, and a young man in a colorful striped suit standing and talking to her. The background features digital screens with images of lipstick, sunglasses, and love-themed graphics.

I thrive on the challenge of creating impactful work within budget, time, and personnel constraints. For Love/Sick, it was important to me that the jagged, puzzle-like pieces of the set felt uniform, allowing us to build a world that could shift fluidly. With each scene, just a few added pieces transformed the canvas, and at the close of every moment the stage returned to a neutral space, mirroring the play’s theme of love that doesn’t quite work out.

A theatrical performance features a woman and a man at a table with a birthday cake with candles, set against a backdrop of a painted window scene.

In the rehearsal room the focus was intentionally on character and relationship building. I wanted the actors to feel supported and safe to take risks and lean into vulnerability, ensuring that the honesty of their performances grounded the ever-changing world around them.

Scenic/Projection Design: Curtis Phillips

Lighting Design: Jonathon Richards

Actors: Juliet Riviere, Braden Magness and Jacquez Morgan

Sound Design: Garrett Eckle

Photos by: Rosemary Jesionowski

Kimberly Akimbo 

By: David Lindsay Abaire

The ensemble’s bond was just as important as the set. To nurture that, we made play a part of our process. Every rehearsal began with a board game, either Sorry! or a Pop-o-Matic game, and those simple rituals transformed a group of strangers into a true family unit. The cast didn’t just perform together; they ate, lived, and breathed the story together. Watching them grow into that closeness was as rewarding as the production itself.

With Kimberly Akimbo, I felt a strong pull to go big, big enough to make the world of rural New Jersey immersive for the audience. The grit, the snow, even the sense of smell were essential to capturing the environment in which this story unfolds. I wanted to build a tangible world for the actors, one that underscored the play’s themes: a young girl’s experience of being an outsider within her family and community, and the urgency of taking risks before time runs out.

This show also marked my first venture into stage “magic” and practical effects. One highlight was replicating a character’s water breaking onstage using a simple but clever trick: a sandwich bag of water secured inside the actor’s costume, released with a natural movement. These inventive choices, layered with the cast’s deep trust in one another, made the production a thrilling and unforgettable collaboration.

Scenic Designer - Curtis Phillips

Lighting Designer - Dustin Smart

Sound Designer - Garrett Eckle

Costume Designer - Kyla Kazuschyk

Actors: Kenzi Whitman, Amber Garner, Charleigh LaRocca, Kerry Wilson, Jonathon Richards

Photos by: Rosemary Jesionowski

The witch 

By:Jen Silverman 

From there, the focus was on simplicity and precision. Every movement had to have purpose, and there was no room for wandering. In the early rehearsals, we spent significant time at music stands, working the text and discovering what each character wanted. This kind of table work is one of my favorite phases because it builds a shared foundation and gives actors the confidence to experiment once we are on our feet.

I wasn’t originally supposed to direct this production, but when a last-minute director was needed, the project fell into my lap and I couldn’t have been more grateful. The script is witty, delightful, and powerful in the smartest of ways. Running it during Halloween week made it an extra treat.

After reading the play a few times, it became instinctual to stage it in the round. I rarely dictate design choices, but for this one I broke my own rule. I told the designer I wanted the audience to feel as though they lived in the same town as the characters. Not so immersive that they expected participation, but close enough to feel like neighbors.

When we transitioned to blocking, the production took off. The actors leaned into the power of stillness, and the economy of movement gave the show a sharp clarity. One of the greatest challenges was choreographing a stage fight that happened within four feet of the audience. But it landed flawlessly every night, and hearing the gasps from the crowd always made me smile knowing we had pulled it off.

Scenic Designer - Curtis Phillips

Lighting Designer - Jonathon Richards

Sound Designer - Garrett Eckle

Costume Designer - Kyla Kazuschyk

Actors: Kenzi Whitman, Quinn Polk, Jesse Fudge,  Ash Boze, Travis Blanks, Brayden Hullet

Tender aTLAS

By:Caity-shea Violette 

Tender Atlas allowed me to check a couple of bucket list items off my list. First, I had the chance to direct an entire evening of 10-minute plays, one of my favorite theatrical mediums. These short works are quick, fun, and reminiscent of sitcoms for the stage, offering incredible flexibility for storytelling and countless opportunities for actors to showcase their range.

Although Tender Atlas consisted of seven different 10-minute plays, it was important to establish a common thread between them. Both the playwright and I are transplants to our respective cities, and much of our conversation centered on the idea of home, relationships, and how they evolve. What resonated most was the universal search to find our way back. Back to home, back to some sense of “normal,” back to ourselves. And we often attempt this in the most tender of ways.

I approached each play as its own story while maintaining a minimalist scenic design that allowed the thematic connections to shine. The production later traveled to the Region 6 Kennedy Center American College Theatre Festival, where it was honored with the Citizen Artist Award. This recognition is given to college productions that promote long-term societal impact by fostering empathy, encouraging dialogue, and advocating for justice.

This production also gave me my first opportunity to collaborate directly with a playwright. The pieces were chosen specifically for this production to explore a unifying theme, and working side by side with Caity-Shea was an added gift. From casting to designer meetings, we approached every decision collaboratively. Her ability to craft stories that amplify overlooked voices is a talent I deeply admire.

Scenic Design: Jenna Houck

Lighting Design: Jonathon Richards

Costume Design: Kyla Kazuschyk

Sound Design: Garrett Eckle

Actors: Juliet Riviere, Sean Polk, Zoe Waguespack, Magali Ana Marelli