Take a look behind the curtain of the Penn State Thespian Society's...
Jesus Christ Superstar
Read interviews with the direction staff, designers, and creative team to find out: What was going on in the minds behind JCS?
Technical Team
Direction Team
Design Team
Scenic Team
To end
Meet the Direction Team
Director: Becca Williams (she/her); 2nd-year English major Music director: Ava Bernardo (she/her); 2nd-year Music Education major Choreographer: Madeline Eiser (she/her); 4th-year English major
Assistant directors: Mikayla Strack and Julia Lipscomb
Assistant music directors: Audrey Heimark, Drew Sackarowitz, and Tessa Trax
Assistant choreographers: Alissa Freeman, Matthew O’Donnell, and Lara Ungaro
Jesus Christ Superstar was spearheaded by director Becca Williams (she/her), music director Ava Bernardo (she/her), and choreographer Madleine Eiser (she/her). Tap below to hear from each of them!
Music Director
Choreographer
Director
Back to start
To end
Becca Williams | Director
Q: Thespian Society originally planned to perform Mamma Mia this semester. How did you pivot to unexpectedly directing Jesus Christ Superstar, and what about this show spoke to you as the director?
A: Mamma Mia and Jesus Christ Superstar are two very different shows with very different vibes (one more whimsical, the other more heavy). Despite this stark divide, Williams was excited to adapt to the new material. During our interview, she told me how she took the Winter Break to dive headfirst into all aspects of the show, including the score, soundtrack, and even the film. What stuck out to her most was the portrayal of Judas as a sympathetic narrator. Although he believes he's doing good, he ultimately comes to regret his decision in the end, and that evokes a certain sense of pity for him.
"What [Judas] is doing he truly believes is for the good... I found myself feeling bad for him." - Becca williams
Back to start
To end
To end
Becca Williams - Director (cont.)
Q: Did you have a "theme" or "image" in your mind when going into this production, and how did you express that on stage?
A: When staging the show, Williams focused on portraying the faults of an exalted, centralized figure, reflecting modern society's own idolization and obsession with celebrities. All figures, regardless of their acclaim, are subject to their shortcomings, just as much as their strengths.
“In my mind...[the characters] are not good or bad.”
“It humanizes [Jesus]...it gives him something that’s relatable, something you can look at him and be like, ‘I understand that.’ Like, ‘I’ve been there.’ Or, ‘I know people who have been there.’ You...relate to him.”
Scenic Team
Design Team
Design Team
Tech Team
Direction Team
Back to start
To end
Ava Bernardo | Music Director
Q: Jesus Christ Superstar is entirely sung through. How has that influenced your music direction, and what makes it different from other scores you’ve worked with in the past?
A: Bernardo was initially a little intimidated to work with JCS's score, especially when switching over from Mamma Mia, which has simple, easily recognizible tunes. However, Bernardo soon realized she was able to incorporate her own classical training when teaching the score of JCS, which combines rock, opera, and musical theatre. She further emphasized her joy when working with sections of the score that feel closer to dialogue—such as smaller vignettes or arguments that, in a traditional script, would be spoken scenes, but are now sung. When teaching such moments, she encouraged the cast to shift their vocal patterns to be closer to speech, mentally determining what is "sung" versus "spoken."
“[I could] incorporate, in a way, three worlds...musical theatre, rock, and opera." - Ava bernardo
Scenic Team
Design Team
Scenic Team
Design Team
Tech Team
Tech Team
Direction Team
Back to start
To end
madeline Eiser | choreographer
Q: Since this story is entirely conveyed through music, how did you approach conveying that story through movement and dance?
A: Eiser emphasized how JCS's choreography is structured primarily around the storytelling, as opposed to more spectacle-driven dance breaks. So, the choreo has to be more sustained, carrying the narrative through extended musical interludes. This further requires Eiser to make interesting choreographic motifs that can be reused throughout the show to enhance the storytelling.
"in Mamma Mia or, like, Legally Blonde — the songs are kind of designed around the fact that there will be choreo there. This time, it’s more of...designing choreo around the fact that there will be a song there.” - Madeline eiser
Scenic Team
Design Team
Scenic Team
Design Team
Tech Team
Tech Team
Direction Team
Back to start
To end
Meet the Tech Team
Sound designers: Ciara Garvey (she/her); 3rd-year Biochemistry and Molecular Biology major Tori Minakowski (they/them); 3rd-year Math & History majorLighting designer: Jesa Burleson (any pronouns); 4th-year Statistics majorProjections designer: Jack Edgar (he/him); 3rd-year Digital Art major
Assistants: Luke Barber and Caspian Getty
Assistants: Eva Fanous and Ava Granja
Assistants: Bones Haupt and Spencer Showers
The technical aspects of Jesus Christ Superstar were crafted by sound designers Ciara Garvey (she/her) and Tori Minakowski (they/them), lighting designer Jesa Burleson (any), and projections designer Jack Edgar (he/him). Tap below to hear from each of them!
Lighting
Projections
Sound
Back to start
To end
Ciara garvey + tori minakowski | sound designers
Q: How is designing an entirely sung-through musical different from designing one with spoken words? How do you tackle those hurdles?
A: Garvey noted that, while designing the JCS wasn't to different from her typical process, she had to be more "on it" while running cues and balancing sound during the show itself. Minakowski echoed this sentiment, but noted that it's easier to react to what's happening on the stage during a sung-through musical, since there's no room for ad-libbing or improvisation. Regardless, that does not make the process a simple one!
“There’s not...the break of getting to the dialogue, which tends to be easier to mix.” - Ciara Garvey
“Even being...one step closer or further away from each other is something that you need to, like, react to during the show.” - Tori Minakowski
Scenic Team
Scenic Team
Design Team
Design Team
Tech Team
Tech Team
Direction Team
Back to start
To end
Jesa Burleson | Lighting Designer
Q: How did you use the lighting of the show to not only enhance the emotional stakes, but also support the story as a whole?
A: As Burleson puts it, lighting can both "set the scene" and "narrow the focus" on stage. They show rather than tell, supporting character development, relationships, and more through unified motifs and color. When designing a show, Burleson searches for important moments that they can pull out to make more memorable, while also using the lights to enhance the emotional depth of the story. Before even beginning to design, Burleson spent about a month to a month and a half talking to other designers to understand how the lights would play with other aspects of the production.
"It’s really about getting a comprehensive view of the show...It’s like trying to put a bow on all of it and tie it all together.”- Jesa Burleson
Scenic Team
Design Team
Design Team
Scenic Team
Tech Team
Tech Team
Direction Team
Back to start
To end
Jack Edgar | Projections Designer
Q: The projection designer is a relatively new introduction to Thespian’s productions. Why and how did you get involved in this role, and how did you incorporate your projections into the show?
A: After seeing Thespian Society's production of Something Rotten in 2024, Jack realized that projections are far more than simply pictures on a slide; they are animated, interactive, living visuals that can actually play with actors themselves. Projections aid productions as a cheaper, more effective substitute for physical sets and/or scrims. Meanwhile, they ground the audience in a more stylized setting, allowing for broader creative freedom and better execution of the director/desginer's vision.
“It puts it in a place that’s more than just what’s on the stage." - Jack Edgar
Scenic Team
Design Team
Design Team
Scenic Team
Tech Team
Tech Team
Direction Team
To end
Back to start
Meet the Scenic Team
Set designer: Robbie Martin (he/him); Mechanical Engineering Grad student Props master: Zac Calamita (he/him); 1st-year Secondary English Education major Scenic artist: Sean Baughman (they/them); 1st-year Art major
Assistants: Alex Clipper and Lily Rios
Assistants: Molly Donahue and Rachel Sabo
Assistants: Allison James, Sarah Kirk, and Brynn Knoebel
The on-stage spectacle you see in Jesus Christ Superstar was a collaboration between set designer Robbie Martin (he/him), props master Zac Calamita (he/him), and scenic artist Sean Baughman (they/them). Tap below to hear from each of them!
Props Master
Scenic Artist
Set Designer
To end
Back to start
Robbie Martin | Set Designer
Q: How did you aim to communicate the time and place of this production when designing the set? Were there any challenges in doing so?
A: Martin outlined that the first step in his design process was focusing on the director's vision and how that would impact the set itself; when it comes to Jesus Christ Superstar, this "take" was much more thematic. Then, Martin had to determine whether the set needed to be more functional or more visual; after talking with Williams, he determined that evoking a dystopian vibe was more important than setting the show in a specific place or time. So, keeping the desired theme in mind, Martin used the image of a run-down church as inspiration, utilizing stained glass, rays of light, and crumbling walls to suggest that location.
"What is needed out of the set?...This is the overall vibe we're going for, let's try to make the set elicit that." - robbie martin
Scenic Team
Design Team
Scenic Team
Tech Team
Tech Team
Direction Team
Back to start
To end
Zac Calamita | Props Master
Q: How do the props of Jesus Christ Superstar enhance the show’s overall storytelling (emphasizing setting, character, plot, etc.)?
A: Jesus Christ Superstar is not a prop-heavy show, so Calamita was able to ensure that each prop was hand-selected to be purposeful, precise, and as potent as possible. During our discussion, Calamita noted how props are used to amplify the on-stage narrative; each prop has a unique purpose, so it's the duty of the props master to ensure that each prop accomplishes its specific goal as best as possible. When asked about his favorite prop, Calamita brought up the crown of thorns. He had the unique opportunity to work cross-discipline with sound and hair/makeup to construct this piece, so it's a source of both excitement and pride.
“You’re pinpointing exactly what you want...[the props] hone in on the story that’s being told.” - Zac calamita
Scenic Team
Design Team
Design Team
Scenic Team
Tech Team
Tech Team
Direction Team
Back to start
To end
Sean baughman | scenic artist
Q: What served as big inspirations for the stage visuals?
A: Similarly to Martin, Baughman was inspired by abandoned churches when creating the visual art for the set. They adopted gothic architectural motifs and designed deteriorating walls covered in foliage and graffiti, evoking an apocalyptic aesthetic. The 6-foot tall stained glass window is Baughman's magnum opus, which showcases a large yellow star in the center to not only reference the show's title, but also the Star of Bethlehem. The graffiti on the surrounding walls further references part's of Jesus' story and general Christian iconography.
"[the window] was a solo project for me that put a big dent...in my back from the hours i spent hunching over it, but i'm very happy with it." - Sean baughman
Scenic Team
Design Team
Design Team
Scenic Team
Tech Team
Tech Team
Direction Team
To end
Back to start
Meet the Visual Design Team
Costume designer: Ella Gift (she/her); 1st-year Architectural Engineering major Hair/Makeup designer: Mackenzie Andrews (she/her); 2nd-year Pre-med Psycholoy major
Assistants: Elena Schiano, Shamyla Vance, and Emily Watters
Assistants: Jamil Dawahra, Marissa Fetterly, and Olivia González
All of the visual elements that adorn the performers were designed by costume designer Ella Gift (she/her) and hair/makeup designer Mackenzie Andrews (she/her). Tap below to hear from each of them!
Hair/makeup
Costumes
To end
Back to start
ella gift | costume designer
Q: Were there any eras or time periods that served as inspiration for your costume designs?
A: Gift immediately noted that JCS itself is a 70s rock opera, which ended up being the source of her inspiration as she drew from icons like Elton John, combining styles of the era with the dystopian theme. Color was also a significant factor when designing the costumes, specifically for the ensemble. A cohesive color palette brought the ensemble together by assigning them a visual "role," while still allowing each member to look unique. Gift also emphasized how much she loved Herod's hot pink pants, calling them "perfect!"
“That story of...protest against the authority can fit really in any time period as long as you...adapt it right.” - Ella Gift
Scenic Team
Design Team
Design Team
Scenic Team
Tech Team
Tech Team
Direction Team
To end
Mackenzie andrews | hair/makeup designer
Q: How did you use hair and makeup to characterize the various figures in the show?
A: Andrews acknowledged that it can sometimes be difficult to pinpoint the ensemble's place in the storyline. So, she remedied this dilemma by using hair and makeup design to visually link the ensemble members to principal characters that represent them (like the Apostles and Caiaphus, for example). The same idea worked in reverse; for example, when designing Pilate's makeup, Andrews took the ensemble's "Black Swan" inspired smokey eye and flipped it on its head. Andrews related the design process to "playing dress up," allowing her to feel like a kid again and experiment with the dystopian/grunge aesthetic as seen in pop culture, like The Hunger Games.
“My big focus is going to be eyes...eyes are the most watched thing...there’s so much soul there.” - Mackenzie andrews
Scenic Team
Design Team
Design Team
Scenic Team
Tech Team
Tech Team
Direction Team
Thank you for taking a look behind the curtain of...
Jesus Christ Superstar
Now that you know just what went into the show, you can enjoy it even more! What to see more? Click below to return to any of the interviews:
Technical Team
Direction Team
Design Team
Scenic Team
Behind the Curtain
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Transcript
Take a look behind the curtain of the Penn State Thespian Society's...
Jesus Christ Superstar
Read interviews with the direction staff, designers, and creative team to find out: What was going on in the minds behind JCS?
Technical Team
Direction Team
Design Team
Scenic Team
To end
Meet the Direction Team
Director: Becca Williams (she/her); 2nd-year English major Music director: Ava Bernardo (she/her); 2nd-year Music Education major Choreographer: Madeline Eiser (she/her); 4th-year English major
Assistant directors: Mikayla Strack and Julia Lipscomb
Assistant music directors: Audrey Heimark, Drew Sackarowitz, and Tessa Trax
Assistant choreographers: Alissa Freeman, Matthew O’Donnell, and Lara Ungaro
Jesus Christ Superstar was spearheaded by director Becca Williams (she/her), music director Ava Bernardo (she/her), and choreographer Madleine Eiser (she/her). Tap below to hear from each of them!
Music Director
Choreographer
Director
Back to start
To end
Becca Williams | Director
Q: Thespian Society originally planned to perform Mamma Mia this semester. How did you pivot to unexpectedly directing Jesus Christ Superstar, and what about this show spoke to you as the director?
A: Mamma Mia and Jesus Christ Superstar are two very different shows with very different vibes (one more whimsical, the other more heavy). Despite this stark divide, Williams was excited to adapt to the new material. During our interview, she told me how she took the Winter Break to dive headfirst into all aspects of the show, including the score, soundtrack, and even the film. What stuck out to her most was the portrayal of Judas as a sympathetic narrator. Although he believes he's doing good, he ultimately comes to regret his decision in the end, and that evokes a certain sense of pity for him.
"What [Judas] is doing he truly believes is for the good... I found myself feeling bad for him." - Becca williams
Back to start
To end
To end
Becca Williams - Director (cont.)
Q: Did you have a "theme" or "image" in your mind when going into this production, and how did you express that on stage?
A: When staging the show, Williams focused on portraying the faults of an exalted, centralized figure, reflecting modern society's own idolization and obsession with celebrities. All figures, regardless of their acclaim, are subject to their shortcomings, just as much as their strengths.
“In my mind...[the characters] are not good or bad.”
“It humanizes [Jesus]...it gives him something that’s relatable, something you can look at him and be like, ‘I understand that.’ Like, ‘I’ve been there.’ Or, ‘I know people who have been there.’ You...relate to him.”
Scenic Team
Design Team
Design Team
Tech Team
Direction Team
Back to start
To end
Ava Bernardo | Music Director
Q: Jesus Christ Superstar is entirely sung through. How has that influenced your music direction, and what makes it different from other scores you’ve worked with in the past?
A: Bernardo was initially a little intimidated to work with JCS's score, especially when switching over from Mamma Mia, which has simple, easily recognizible tunes. However, Bernardo soon realized she was able to incorporate her own classical training when teaching the score of JCS, which combines rock, opera, and musical theatre. She further emphasized her joy when working with sections of the score that feel closer to dialogue—such as smaller vignettes or arguments that, in a traditional script, would be spoken scenes, but are now sung. When teaching such moments, she encouraged the cast to shift their vocal patterns to be closer to speech, mentally determining what is "sung" versus "spoken."
“[I could] incorporate, in a way, three worlds...musical theatre, rock, and opera." - Ava bernardo
Scenic Team
Design Team
Scenic Team
Design Team
Tech Team
Tech Team
Direction Team
Back to start
To end
madeline Eiser | choreographer
Q: Since this story is entirely conveyed through music, how did you approach conveying that story through movement and dance?
A: Eiser emphasized how JCS's choreography is structured primarily around the storytelling, as opposed to more spectacle-driven dance breaks. So, the choreo has to be more sustained, carrying the narrative through extended musical interludes. This further requires Eiser to make interesting choreographic motifs that can be reused throughout the show to enhance the storytelling.
"in Mamma Mia or, like, Legally Blonde — the songs are kind of designed around the fact that there will be choreo there. This time, it’s more of...designing choreo around the fact that there will be a song there.” - Madeline eiser
Scenic Team
Design Team
Scenic Team
Design Team
Tech Team
Tech Team
Direction Team
Back to start
To end
Meet the Tech Team
Sound designers: Ciara Garvey (she/her); 3rd-year Biochemistry and Molecular Biology major Tori Minakowski (they/them); 3rd-year Math & History majorLighting designer: Jesa Burleson (any pronouns); 4th-year Statistics majorProjections designer: Jack Edgar (he/him); 3rd-year Digital Art major
Assistants: Luke Barber and Caspian Getty
Assistants: Eva Fanous and Ava Granja
Assistants: Bones Haupt and Spencer Showers
The technical aspects of Jesus Christ Superstar were crafted by sound designers Ciara Garvey (she/her) and Tori Minakowski (they/them), lighting designer Jesa Burleson (any), and projections designer Jack Edgar (he/him). Tap below to hear from each of them!
Lighting
Projections
Sound
Back to start
To end
Ciara garvey + tori minakowski | sound designers
Q: How is designing an entirely sung-through musical different from designing one with spoken words? How do you tackle those hurdles?
A: Garvey noted that, while designing the JCS wasn't to different from her typical process, she had to be more "on it" while running cues and balancing sound during the show itself. Minakowski echoed this sentiment, but noted that it's easier to react to what's happening on the stage during a sung-through musical, since there's no room for ad-libbing or improvisation. Regardless, that does not make the process a simple one!
“There’s not...the break of getting to the dialogue, which tends to be easier to mix.” - Ciara Garvey
“Even being...one step closer or further away from each other is something that you need to, like, react to during the show.” - Tori Minakowski
Scenic Team
Scenic Team
Design Team
Design Team
Tech Team
Tech Team
Direction Team
Back to start
To end
Jesa Burleson | Lighting Designer
Q: How did you use the lighting of the show to not only enhance the emotional stakes, but also support the story as a whole?
A: As Burleson puts it, lighting can both "set the scene" and "narrow the focus" on stage. They show rather than tell, supporting character development, relationships, and more through unified motifs and color. When designing a show, Burleson searches for important moments that they can pull out to make more memorable, while also using the lights to enhance the emotional depth of the story. Before even beginning to design, Burleson spent about a month to a month and a half talking to other designers to understand how the lights would play with other aspects of the production.
"It’s really about getting a comprehensive view of the show...It’s like trying to put a bow on all of it and tie it all together.”- Jesa Burleson
Scenic Team
Design Team
Design Team
Scenic Team
Tech Team
Tech Team
Direction Team
Back to start
To end
Jack Edgar | Projections Designer
Q: The projection designer is a relatively new introduction to Thespian’s productions. Why and how did you get involved in this role, and how did you incorporate your projections into the show?
A: After seeing Thespian Society's production of Something Rotten in 2024, Jack realized that projections are far more than simply pictures on a slide; they are animated, interactive, living visuals that can actually play with actors themselves. Projections aid productions as a cheaper, more effective substitute for physical sets and/or scrims. Meanwhile, they ground the audience in a more stylized setting, allowing for broader creative freedom and better execution of the director/desginer's vision.
“It puts it in a place that’s more than just what’s on the stage." - Jack Edgar
Scenic Team
Design Team
Design Team
Scenic Team
Tech Team
Tech Team
Direction Team
To end
Back to start
Meet the Scenic Team
Set designer: Robbie Martin (he/him); Mechanical Engineering Grad student Props master: Zac Calamita (he/him); 1st-year Secondary English Education major Scenic artist: Sean Baughman (they/them); 1st-year Art major
Assistants: Alex Clipper and Lily Rios
Assistants: Molly Donahue and Rachel Sabo
Assistants: Allison James, Sarah Kirk, and Brynn Knoebel
The on-stage spectacle you see in Jesus Christ Superstar was a collaboration between set designer Robbie Martin (he/him), props master Zac Calamita (he/him), and scenic artist Sean Baughman (they/them). Tap below to hear from each of them!
Props Master
Scenic Artist
Set Designer
To end
Back to start
Robbie Martin | Set Designer
Q: How did you aim to communicate the time and place of this production when designing the set? Were there any challenges in doing so?
A: Martin outlined that the first step in his design process was focusing on the director's vision and how that would impact the set itself; when it comes to Jesus Christ Superstar, this "take" was much more thematic. Then, Martin had to determine whether the set needed to be more functional or more visual; after talking with Williams, he determined that evoking a dystopian vibe was more important than setting the show in a specific place or time. So, keeping the desired theme in mind, Martin used the image of a run-down church as inspiration, utilizing stained glass, rays of light, and crumbling walls to suggest that location.
"What is needed out of the set?...This is the overall vibe we're going for, let's try to make the set elicit that." - robbie martin
Scenic Team
Design Team
Scenic Team
Tech Team
Tech Team
Direction Team
Back to start
To end
Zac Calamita | Props Master
Q: How do the props of Jesus Christ Superstar enhance the show’s overall storytelling (emphasizing setting, character, plot, etc.)?
A: Jesus Christ Superstar is not a prop-heavy show, so Calamita was able to ensure that each prop was hand-selected to be purposeful, precise, and as potent as possible. During our discussion, Calamita noted how props are used to amplify the on-stage narrative; each prop has a unique purpose, so it's the duty of the props master to ensure that each prop accomplishes its specific goal as best as possible. When asked about his favorite prop, Calamita brought up the crown of thorns. He had the unique opportunity to work cross-discipline with sound and hair/makeup to construct this piece, so it's a source of both excitement and pride.
“You’re pinpointing exactly what you want...[the props] hone in on the story that’s being told.” - Zac calamita
Scenic Team
Design Team
Design Team
Scenic Team
Tech Team
Tech Team
Direction Team
Back to start
To end
Sean baughman | scenic artist
Q: What served as big inspirations for the stage visuals?
A: Similarly to Martin, Baughman was inspired by abandoned churches when creating the visual art for the set. They adopted gothic architectural motifs and designed deteriorating walls covered in foliage and graffiti, evoking an apocalyptic aesthetic. The 6-foot tall stained glass window is Baughman's magnum opus, which showcases a large yellow star in the center to not only reference the show's title, but also the Star of Bethlehem. The graffiti on the surrounding walls further references part's of Jesus' story and general Christian iconography.
"[the window] was a solo project for me that put a big dent...in my back from the hours i spent hunching over it, but i'm very happy with it." - Sean baughman
Scenic Team
Design Team
Design Team
Scenic Team
Tech Team
Tech Team
Direction Team
To end
Back to start
Meet the Visual Design Team
Costume designer: Ella Gift (she/her); 1st-year Architectural Engineering major Hair/Makeup designer: Mackenzie Andrews (she/her); 2nd-year Pre-med Psycholoy major
Assistants: Elena Schiano, Shamyla Vance, and Emily Watters
Assistants: Jamil Dawahra, Marissa Fetterly, and Olivia González
All of the visual elements that adorn the performers were designed by costume designer Ella Gift (she/her) and hair/makeup designer Mackenzie Andrews (she/her). Tap below to hear from each of them!
Hair/makeup
Costumes
To end
Back to start
ella gift | costume designer
Q: Were there any eras or time periods that served as inspiration for your costume designs?
A: Gift immediately noted that JCS itself is a 70s rock opera, which ended up being the source of her inspiration as she drew from icons like Elton John, combining styles of the era with the dystopian theme. Color was also a significant factor when designing the costumes, specifically for the ensemble. A cohesive color palette brought the ensemble together by assigning them a visual "role," while still allowing each member to look unique. Gift also emphasized how much she loved Herod's hot pink pants, calling them "perfect!"
“That story of...protest against the authority can fit really in any time period as long as you...adapt it right.” - Ella Gift
Scenic Team
Design Team
Design Team
Scenic Team
Tech Team
Tech Team
Direction Team
To end
Mackenzie andrews | hair/makeup designer
Q: How did you use hair and makeup to characterize the various figures in the show?
A: Andrews acknowledged that it can sometimes be difficult to pinpoint the ensemble's place in the storyline. So, she remedied this dilemma by using hair and makeup design to visually link the ensemble members to principal characters that represent them (like the Apostles and Caiaphus, for example). The same idea worked in reverse; for example, when designing Pilate's makeup, Andrews took the ensemble's "Black Swan" inspired smokey eye and flipped it on its head. Andrews related the design process to "playing dress up," allowing her to feel like a kid again and experiment with the dystopian/grunge aesthetic as seen in pop culture, like The Hunger Games.
“My big focus is going to be eyes...eyes are the most watched thing...there’s so much soul there.” - Mackenzie andrews
Scenic Team
Design Team
Design Team
Scenic Team
Tech Team
Tech Team
Direction Team
Thank you for taking a look behind the curtain of...
Jesus Christ Superstar
Now that you know just what went into the show, you can enjoy it even more! What to see more? Click below to return to any of the interviews:
Technical Team
Direction Team
Design Team
Scenic Team