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This thesis describes the process I used to research, draw, paint and finally design the costumes for Temple University's theatrical production of Pudd'nhead Wilson written by Charles Smith. I present the differences between the novel by Mark Twain and the script by Charles Smith. The early design process is then described including meetings with the director Doug Wager, the scenic designer Ian P. Guzzone and the lighting designer Christopher Hetherington. My preliminary costume research is illustrated in the text and the accompanying appendices followed by full color gouache renderings. I discuss the creation of the costumes from first fittings through final dress rehearsal and the challenges that were overcome. A separate chapter, including costume and make-up design, is dedicated to the controversial character of The Minstrel. Finally, the conclusion contains images enabling the reader to visualize the design of each character from preliminary collage, rendering and finally a production photo. These are combined with my thoughts and reflections on the final designs. / Theater

This thesis examines, details, and evaluates the process used while executing the lighting design for a production of A Chorus Line, produced by Temple University's Department of Theater. I will discuss each part of the design process as well as the technical rehearsal process and evaluate the choices made. / Theater

As You Like It is regarded as one of Shakespeare's mature comedies in that he combines both serious and comic subject matter. Hired by Bard on the Beach Shakespeare Festival in Vancouver, Canada, I was granted permission by Temple University to submit this production as my thesis. Approaching the play from an objective perspective proved initially difficult due to the vast multitude of research materials and my personal experience of having twice performed in the play. However, by analyzing Shakespeare's text, and approaching the play from the ending first, I was able to discover my unique conceit on directing the play. Set during the English Civil War, I was able to establish the necessary two worlds of the play, a Puritan Court and an English Cavalier Forest of Arden. Through a series of six chapters I explain my process from conception to production, as well, I also evaluate my growth as a director during this artistic achievement. A Director's Script, Costume Sketches, an early Set Design and Reviews support my journey to Opening Night of As You Like It. / Theater

This thesis is a partial documentation of the process of preparing and rehearsing Temple University Theatre's 2015 production of Tom Stoppard's Arcadia, and the ways in which the process was artistically challenging and personally transformative. It is a demonstration of the manifold procedure of discovering action through language in the rehearsal process, the essential relationship of language to behavior in all collaborative practice and both the embrace of constructive conflict and the fundamental exercise of self-reflection as the primary catalysts for artistic development. / Theater

The goal of this thesis is to document, analyze and interpret the process that led to the realized scenic design of Rajiv Joseph's Bengal Tiger at the Baghdad Zoo, produced by Temple University Department of Theater, and presented at the Adrienne Theater as part of the Philadelphia Fridge Festival. I will discuss each part of the design and the production process, as well as the technical rehearsal process, while objectively analyzing the choices made by the production team and myself. / Theater

As a director and theatre artist, I want my creative work as a storyteller to illuminate myth. The beauty of myth transcends all cultural boundaries by revealing, through the art of storytelling, the universal within the particular, thus illuminating the foundation of our common experience. Playwright Rajiv Joseph is a consummate contemporary mythmaker. Whether rooted in the troubled desires of adolescence (Gruesome Playground Injuries,) or in our fascination with classical antiquity and our own contemporary nightmares, (Monsters at the Door), or Bengal Tiger at the Baghdad Zoo - a fantastic war-torn tale of a broken world adrift and lost in translation, his vision is muscularly metatheatrical. Stylistically, Bengal Tiger at the Baghdad Zoo delves into what Joseph himself describes as magical realism, and in my thesis production, I was wanted to explore how magical realism could be deployed as a theatrical convention, particularly in relation to space. The Tiger is a character that is written in the spirit of the epic, and I used similar conventions in style and clarified actions with my cast. By using video projection mapping as a design concept, I attempted to juxtapose Joseph's hyperrealism with his vision of the fantastic. By fracturing the contemporary imagery of the day - the remnants of our myths driven the media and technology impress false needs that can only be fulfilled through consumerism and - and reconstruct them, I wanted to engender a objective reaction from the audience. In Bengal Tiger at the Baghdad Zoo, Rajiv Joseph has artfully conjured a caustic and cautionary tale that provocatively questions the very end of faith. This is a story of our time and all time; a postmodern theatrical myth that powerfully transcends the broken landscape of its exotic cultural boundaries. It is difficult to view Iraq today, and fail to view Joseph's play as frighteningly prescient. As a nation, we have fractured ourselves; as a species, we have forgotten our prayers; as a planet, we are all lost in translation. Those ideas are at the heart of my interpretation of the play. / Theater

My thesis is about my experience designing the set for fall 2018 production of A Midsummer Night’s Dream in Randall Theater, Tomlinson in Temple University. It will explain how I started with the design from reading the script to the final step of the production. Being deaf helped me to visualize the concept of the scenic design for the play. I learned so much about communication with the director and creative team. The chapter one explains the production meeting with the director, where we shared our ideas for the design of the scenic. Chapter two explains my research and inspiration, progressing from rough sketches to final color model set. Chapter three explains how we started to build and paint the set from drafting and paint elevations. It also outlines the progress of building and painting in the black box theatre. It will also briefly explain how we created props such as the flower, and the technical rehearsals. Chapter 4 explains about my evaluation of the set such as what it would need to work on or fix and how proud I was with my work. Chapter 5 is a reflection on this production and my experience in the graduate program. Appendices include research pictures for inspiration, drafting, production pictures, renderings, white model, color models, resume, headshot, technical rehearsal notes, director’s concept and previous productions I designed from first 2 years. / Theater