Theatrical Lighting and Scenic Designer
Scenic Design
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Crumpled pages from the script of The Seagull funnel into the "scene number clock," while blank pages rise upward with multiple implications.
Projections within the period style clock included pre-show and epilogue elements, as well as an anachronistic digital font for the scenes numbers.
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Evidence of Things Unseen
Taproot Theatre Company, March 2016
Director: Scott Nolte
Scenic Design: Amanda Sweger
Lighting Design: Brian Engle
Costume Design: Sarah Burch Gordon
Photo by Erik Stuhaug
Photo by Erik Stuhaug
Photo by Erik Stuhaug
Photo by Erik Stuhaug
The Nina Variations
Belmont University with Verge Theatre
Director: Jacklynn Jutting
Scenic Design: Amanda Sweger
Lighting Design: Paul Gatrell
Costume Design: Jessica Mueller
In this anachronistic production, Treplev remained in the time period in which he committed suicide. Three women of different ages and eras represent Nina as she continued to live her life, replaying the incidents of the past in hopes of a different outcome. Elements of modern times were sprinkeled thorougout the set due to the metatheatrical nature of the play's structure. Upstage, the clock is a clear representation of this symbolism. Pages of dialogue from The Seagull funnel into the period style clock which projects the digital font scene numbers which are referenced in the dialogue.
In Darfur
TimeLine Theatre Company, January 2011
Director: Nick Bowling
Scenic Design: Amanda Sweger
Lighting Design: Jesse Klug
Costume Design: Lindsey Pate
Projection Design: Mike Tutaj