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A Blast in Kranesville: Designers' Notes

Theatre Southeast Presents: An original audio theatre project.

Paul Fiorella, Faculty Coordinator of Student Costume Designs

This semester has been an exciting challenge for the TCC Southeast Drama Program, as the faculty coordinated innovative ways to instruct and engage our theater students. Drew Hampton and I coordinated an opportunity for Theater Practicum and Stagecraft II students to collaborate for our devised piece. I gave my Stagecraft II students the task of working with assigned Theater Practicum students, developing hypothetical costume designs for their Theater Practicum students' characters. This would be an opportunity for Stagecraft II students to develop their remote learning communication skills as well as demonstrating advanced understanding of the costume design process. Stagecraft II students prepared for a few weeks, using the character monologue information they gathered from the Theater Practicum students, and then began the creative process of designing the various costume design proposals. I facilitated this exciting and creative costume design project as the Faculty Coordinator of Student Costume Designs. I am very proud of the talent and commitment that the Stagecraft II students demonstrated by working hard on this course assignment and by demonstrating the creative success that can be achieved when theater students work together.

Costume Renderings

Character: Stacee Ward (all monologues); designed by Julia Macleod

Character: Miriam Hawthorne (monologue 1); designed by Hunter Brown

Character: John Phillips Jr. (monologue 3); designed by Kiera Gavitt

Character: Calliope Castillo (monologue 3); designed by Jourdain Blanco

Darius Booker, Sound Designer/Voice-Over Coordinator

Creating a world of sound for this virtual production has been both exciting and challenging. As Sound Designer I always ask myself, “What does the world of this story need of me? How can I bring organic evolution of its creation from beginning to end?” I aim to support the story at its core. Considering my background contains a multitude of experience as an actor, I have the privilege to imagine and visualize what characters may feel or respond to, while remaining true to each character’s personality and objectives. I become lost in the story’s message, character objectives, and literary elements.

I hope for the sound design to evoke ambiguity, to foreshadow events, and establish proper mood throughout the telling of the story. Character thoughts, emotions, and internal conflicts are revealed through their speech, but also by the accompaniment of sound. These are diverse characters, so what better way to blend everything together than with a fusion of diverse styles of sound design.