“Afterwards” stripped down Mozart’s “Idomeneo” to focus on the psychological ramifications of war trauma and shed light on our current refugee crises. The design featured the island of Crete engulfed by abandoned refugee lifejackets as a modern symbol the often ignored aftereffect of war contrasted by the archaic mechanism of war, the sail of a Trojan warship, looming overhead.

“A technical feat” — Pittsburgh Post Gazette

This design for “Into the Woods” stripped away the usual artifice associated with production, the design refocused attention on the characters as they navigate their desires and consequences, emphasizing the interplay between reality and fantasy. This approach not only enriched the narrative but also encouraged viewers to reflect on the power of theater to reshape perceptions and illuminated the complexities of the human experience.

"This new design reminisced Sondheim’s charm and wit, creating space for comedic moments to underscore the sometimes heavy themes" — Yale Daily News

Blending opulence and whimsy, this design reflected the charm of the Edwardian era while amplifying the show's dark comedy. It captured the essence of an Edwardian Music Hall through a period false proscenium adorned with opera boxes, inviting the audience into a world of theatricality and spectacle, while consistently reminding them that they are watching a performance and not everything is to be trusted.

“Christian Fleming’s scenic design on the musical hall stage-within-a-stage is forever attention-grabbing with its quick set changes and its dazzling color” — Broadwayworld Phoenix

This design offered a unique viewing experience by contrasting two distinct staging approaches. Act One is presented on a wide, shallow stage, creating an immersive exterior environment that draws the audience into the emotional landscape of the characters encouraging a sense of intimacy and engagement. In stark contrast, Act Two shifts to a more traditional box set, introducing a greater aesthetic distance that reflects the characters' growing disconnection.

This design blended the frame story of an interview with Gene Wilder using live video capture with the vibrant internal world of his memories. The stage reflects this duality, with a realistic interview setup that transitions seamlessly into imaginative spaces where Gilda's spirit comes to life.

As Gene revives past memories, the set serves as a canvas for the two iconic personalities which not only enhances the emotional depth of their relationship but also visually represents the fluidity of memory and imagination, drawing the audience into the heart of their shared experiences.

This design grounded the action in George’s art studio deepening the exploration of the play’s central themes of art versus life and the creative process. The studio, filled with canvases, palettes, and unfinished works, allowed the audience to witness the juxtaposition of creation and reality, highlighting the struggles and joys of the artistic journey.

By immersing the audience in George’s world, the design invited deeper contemplation on how art captures fleeting moments and emotions and offered greater resonance as the same room took on new meaning, ultimately highlighting the balance between personal sacrifice and creative fulfillment.

Church’s design created a meta-theatrical experience transporting the audience from watching a play to attending a touring ministry’s service using the theater as their venue. The artifice explored by Young Jean Lee in the text is mirrored by the exposed theater architecture.

This design captured the gritty, vibrant essence of New York City's East Village, centered on a versatile, multi-level set featuring the ubiquitous building maintenance scaffolding found throughout NYC. This central structure facilitates seamless transitions between scenes and creates intimate performance spaces, immersing the audience in the raw energy and emotional depth of the musical.

Ascend grounded itself on creating experiential theater for Pittsburgh audiences. Centered on a circle with a tilted monumental stone ring hovering above, the design focused on ritual and our connection to the natural elements. Audiences were guided by dancers which allowed for the relationship to the performance to shift from viewer to participant.

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The design focused on offering a romantic lens through which Margaret and Clara experience Florence that contrasts with their familiar 1950s North Carolina. Instead of traditional scene transitions, this design chose an ethereal approach allowing all pieces to slowly float in and out of scenes encapsulating the sweeping romance and immersing the audience, like Margaret and Clara, in a new yet familiar world.

This design captured the main character's recollection of a pivotal childhood memory, immersing the audience in her mind. Key elements like 70s wallpaper, her father’s recliner, and notes on her mother’s fridge created a minimalist yet dynamic backdrop, blurring reality and memory.

A raised deck distinguished present-day reflections, while lighting and props subtly transformed to evoke her emotions, enriching the narrative, highlighting memory’s selective and impactful nature.

This design for Dear Jack, Dear Louise used love letters as a central metaphor, illustrating the couple’s connection during World War II. Thousands of letters linked Jack’s barracks and Louise’s boarding house, reflecting their bond despite distance. As they traveled—Jack in combat, Louise on tour—their worlds intertwined, culminating in their first meeting.

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