American Theatre Wing

Associate Lighting Designer Caroline Chao takes care of all the details for a lighting designer, including handling the production schedule, helping to draft the lighting plot, and keeping track of notes, follow spots, and the cue list. She takes us through her role in the production process, and points out the advantages of being a lighting associate and assistant. Chao has worked on multiple shows at once with lighting designer Don Holder, and is seen here teching Spider-Man: Turn Off The Dark.

Theatrical Sculptor Nino Novellino specializes in creating sculpture and costume armor for theatre, ballet, opera, and film. Costume armor was first developed for the original production of Man of La Mancha. Novellino talks about his work on the set of Cats, Sunset Boulevard, and the Green Goblin costume in Spider-Man: Turn Off The Dark. From the sculpting shop, he explains the different processes used to recreate items in plastic for use onstage.

Special Effects Designer Gregory Meeh uses a vast array of technologies to build illusions for live stage productions. He has created pyrotechnic explosions and atmospheric effects such as rain, fire, and fog for Spamalot, Women on the Verge, and 110 in the Shade on Broadway. A special effect event like The Phantom of the Opera chandelier is comprised of many elements. Seen here are Treasure Island's simple yet creative effects, as well as Meeh's expertise with firearms (Les Miserables, Miss Saigon).

Director of Community Engagement Anita Maynard-Losh leads all education and outreach programs at Arena Stage in Washington D.C. Her extensive background in arts education began with acting, directing, then teaching at American Conservatory Theater in San Francisco, and throughout Alaska. As director, her job is not only administrative and hands-on education, it's an important part of Arena's artistic strategy and mission to enrich their community through theatre. Voices of Now and the DC Ticket Partnership are two of Arena Stage's programs that add to students' arts education.

Costume Shop Manager Carol Hammond works closely with the costume designer, and deals with all of the logistics of costuming. She oversees costumes being shopped and built, fittings, budgeting, and hiring and managing an extensive staff. At Atlanta's Alliance Theatre, Hammond and her core staff work on multiple shows at once during their annual season of ten productions. Hammond gives a tour of the Alliance Theatre's costume shop, craftshop, wardrobe, wig area, and storage.

Technical Director Mike Cristaldi supervises the installation and engineering of the physical production of a show. At Philadelphia Theatre Company, he coordinates all the technical elements, such as scenery, lighting, sound, wardrobe, props, and video, between each of PTC's departments and a show's designers. He talks about how the new Suzanne Roberts Theatre space increases PTC's technical capabilities, and how it has broadened his role as well.