Cabaret Lighting Designer Feature: Lexy Rile, Joshua Doss, Jacob Parks, and Will Nute

Q: Design inspiration?
A: Cabarets are pretty much peak musical theater – bright lights and saturated colors – but the show has many scenes that are kind of meant to be the antithesis of a cabaret. Because of this, we actually hung 2 different washes for this show, one with more saturation and one that was more neutral. This allowed us a wider variety in how we lit each scene and musical number in the show. The vanity lights and colored LEDs are also ideas we drew from nightclubs.

Q: Positives and challenges of lighting a musical in-concert?
A: Doing the musical in concert meant that practical lights, like the vanity lightbulbs, could exist on stage in one place, which is pretty much the only reason we were able to use them. Having an on-stage orchestra meant we had to be thoughtful in how we provided light for them, but also gave us more creative space. Also, because the show is in concert, there’s much more responsibility on the light designer to set each scene instead of using set pieces.

Q: Favorite light cue or effect? Is there something you’re excited for the audience to see?
Will: I’m really happy with how the end of Money turned out.
Josh: The cues right before intermission are great.
Lexy: I like the dark cue that happens in the Cabaret number.
Jacob: The abrupt change in mood at the end of act 1.

Q: LEDs, movers, gaff tape, or hazer? (tag urself)
Will: Movers because I’m impossible to work with but can do cool things sometimes
Josh: LEDs.
Lexy: Gaff tape because I value practicality.
Jacob: LEDs because I’ll make a reasonable attempt at anything you want, with a high probability of failure.

Cabaret Sound Designer Feature: Gwen Kvasnicka and Alex Boulware

Q: Why choose to sound design/what is your favorite part about it?
Gwen: I have always liked music & radio so when I joined DT I immediately gravitated towards sound. I love making playlists for house music (the music you hear before the show starts) to set the tone of the play, and I also love working with our sound cueing program, Qlab!
Alex: I haven’t done much tech work at DT so I wanted to give it a shot before I graduate next month! What really drew me to sound design was honestly Gwen’s enthusiasm for it. It’s been really fun learning from her. There’s so much thought that goes into choosing songs for house music or even just the perfect train whistle that most people don’t realize.

Q: Is there an element of your design that you’re really excited about that the audience should know?
Gwen: There are only a couple sound effects in the show, so I’m mostly excited about the house music. It’s all from the 20’s and 30’s, when Cabaret is set, and a lot of the songs are old recordings from German jazz bands or “kabarett” performers! There’s also a pretty rad train whistle I guess. Toot toot.
Alex: I second that. It was really interesting to research the music from that era and find the right tone for the show. One of my favorite songs on the list is “Ich bin die fesche Lola” which translates to “I’m the sexy Lola.” It seems like something Sally might sing.

Q: Favorite song in the show?
Gwen: From a theatre-goer standpoint, probably Cabaret, but from an orchestra standpoint it’s the Entre’acte that we play at the end of intermission!
Alex: This is tough because most of them have been stuck in my head all week, but if I have to pick, I’ll say Wilkommen. It really makes you feel like you’re there with the dancers at a dimly lit table in the back of the Kit Kat Klub.

Q: Any key on the keyboard, what would you be?
Gwen: All this time I thought this was a music question but I just realized that the right answer is the space bar.
Alex: I think space bar is the only acceptable answer here.

Cabaret Props Designer Feature: Katie Zong and Jamison Orvis

Q: What was your process for designing the props for the show?
A: To be completely honest, I mostly just went with anything that looked about right for the time period that I could find in storage. And fruit. So much fruit.

Q: Any challenges in executing your designs for props?
A: Our props inventory is pretty limited when it comes to period-accurate items, so it was a bit challenging to find things (especially the suitcases) that didn’t look too out of place considering Cabaret is set in 1930s Berlin. Also in the egg scene, I had to make a false bottom in the mug so Sally wouldn’t actually, you know, drink a raw egg.

Q: Will there be toasters?
A: Do you even need to ask?

Q: Favorite prop in the show OR favorite fruit?
A: It’s not even an actual prop in the show, but it’s probably the shadow pineapple prop lol.

Cabaret Director Feature: Caroline Geckler

Q: What is it like returning to DramaTech?

A: Great to be back, especially since I’m in a new position! I haven’t directed a musical in a few years so it’s nice to have the chance to return to what I love at a theatre that has always supported me.

 

Q:  What was your involvement here when you were a student?

A: Mostly acting, my DT credits can be found here.

 

Q: Best part of the process so far?

A: Getting to work with a live orchestra every night. It’s the best kind of challenge, and worth it.

 

Q: Is there anything in the show you’re most excited for audiences to see?

A: The whole thing! Every moment in this show is special, and I don’t want to give anything away

 

Q: Sum up your production in five words!

A: fearless, rude, unapologetic, striking, genuine

Cabaret Director Feature: Caroline Geckler

Q: What is it like returning to DramaTech?

A: Great to be back, especially since I’m in a new position! I haven’t directed a musical in a few years so it’s nice to have the chance to return to what I love at a theatre that has always supported me.

 

Q:  What was your involvement here when you were a student?

A: Mostly acting, my DT credits can be found here

 

Q: Best part of the process so far?

A: Getting to work with a live orchestra every night. It’s the best kind of challenge, and worth it.

 

Q: Is there anything in the show you’re most excited for audiences to see?

A: The whole thing! Every moment in this show is special, and I don’t want to give anything away

 

Q: Sum up your production in five words!

A: fearless, rude, unapologetic, striking, genuine

Congratulations to the Cast of “Cabaret”!

Congratulations to the cast of “Cabaret”!

The cast list as follows:

Lina Zikas as Sally Bowles
Ben Hepburn as The Emcee
Andrew Horton as Clifford Bradshaw
Hannah Strudwick as Fraulein Schneider
Craig Schwartz as Herr Schultz
Davis Williams as Ernst Ludwig
Soso Ogan as Fraulein Kost
Katherine Francois as Rosie
Erin Kistenberg as Lulu
Hannah Vanderver as Frenchie
Marissa Truskowski as Texas
Skyler Tordoya as Fritzie
Audrey Durbin as Helga
Christopher Sun as Bobby
Kenneth Crane-Moscowitz as Victor
Bryce Irvin as Hans

 

Congratulations again, and thank you to everyone who came out to audition!

Congratulations to the Cast of “Post Mortem”

Congratulations to the cast of “Post Mortem”!

The cast list as follows:

Post Mortem

Thomas Glenn as The Postman
Mikael Bucknavage as Tobey
Autumn Siebold as Romeo
Alex Boulware as Juliet

 

Congratulations to the Cast of “Dead Man’s Cell Phone”

Congratulations to the cast of “High Ground”!

The cast list as follows:

Skyler Tordoya as Jean
Devon Long as Gordon
Kyle Heiss as Dwight
Emma Schroer as Hermia
Milan Riddick as Mrs. Gottlieb
Marissa Twskowski as The Other Woman
Julia Grey as The Stranger

Ensemble Cast:
Ashley Alred
Amanda Domingues
Gracelyn Nguyen
Bradford Peterson
Anya Smith-Roman

Congratulations again, and thank you to everyone who came out to audition!

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