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Many elements must come together to create an effective theatre production. The stage manager is responsible for making these elements mesh. What tools does a student stage manager need not only to survive, but to thrive in this critical role?

I have seen a trend in the teaching of technical theatre towards a more practical and less theoretical education. This has brought about a change in viewpoint by professional technicians, as well as students, in regards to an academic degree. Due to this change and the rise of student debt, the impulse has been to encourage going directly into the field and learning the craft there instead of spending four years in an academic institution. There has also been increased pressure on theatre departments to produce larger and more involved shows; both to draw in new students and to justify budgets for productions, particularly musicals. This has led to a greater rate of burnout for graduating students who have spent less time in actual classes than in working on productions. In studying and working in the academic environment I have made insights into ways in which these problems may be alleviated and academic training can remain relevant to the demands of the professional world.

An exploration of Annie Baker's play The Aliens through the perspective of student directing. This includes the process of research, casting, rehearsal, and performance of the play in the Spring of 2017 at East Tennessee State University.

A summary of the experience of directing The Aliens by Annie Baker including the process of research on the play and playwright, casting the production, rehearsing the play, and performing it.

The purpose of this project was to broaden my skill set and responsibilities within a well-established theatre company by transitioning from performer to director. I would accomplish this goal by using my extensive knowledge of the inner-workings of the Redlands Theatre Festival, while applying my own set of techniques, philosophies, and judgments. The project was based around the Redlands Theatre Festival’s (RTF) production of The Hot L Baltimore, written by Lanford Wilson, performed by resident actors and the acting company of RTF. I was given the opportunity to direct the play under the supervision of the Artistic Producing Director and founder of the then 40-year-old theatre company. The assignment had one main component: directing a successful production in an already-established company of experienced theatre artists. This main task was riddled with myriad complications in its production methodology. Contributing factors to the success of this project included thorough research of the period and material, a strong background in acting, creativity and the willing suspension of disbelief amongst performers and audience, trial and error, and the drive to share my passion of theatre. Many opinions and critiques were available upon the opening of the production and I am confident that this project was a success, in many ways. The play was well-received by audiences, as well as a positive and educational experience for the performers. Upon the completion of the project, I have a deeper understanding of the specialized techniques that are required, and necessary, for me to amass future successes in similar endeavors with the Redlands Theatre Festival.

This thesis explores and describes key factors in the design process leading to production of The Three Musketeers by Catherine Bush. The document encompasses the justification and discussion of the choices made during the research, design, and production stages of developing the play for the stage, as well as impressions gained throughout the process to use in future design projects.

The world of theatre focuses on presentation and showmanship, but what audience never sees is often the most vital parts of the show. Behind the curtains, in the backstage of the theatre is where the real magic happens. This paper focuses on shedding some light on one aspect of the backstage. Without light, nothing would be seen. Follow along as the process of being chosen, creating, research, and production are revealed and explained to make the backstage more appreciated.

I designed the lighting for William Shakespeare's complex piece, The Merchant of Venice, which was produced by the UMass Amherst Theater Department. In this thesis paper, I will discuss the creative process from start to finish, including relevant lighting paperwork and production photographs.

This essay describes tools for unlocking accessibility in theatre, specifically for those within the disabled community. Throughout my own research in accessible theatre, and the research reviewed within this paper, it is seen that inclusive theatre yields a multitude of positive benefits for those involved, both emotionally and socially. Throughout my experience with OpenSpot Theatre, an accessible theatre company that teaches drama classes in areas throughout the United States, I learn methods to implement accessibility in theatrical settings using devised theatre, affinity therapy, and applied theatre techniques. Within this thesis, I describe my experience with accessible theatre, OpenSpot theatre, and take a look into how the brilliant realms of theatre and psychology collide.