A Conversation with Costume Designer Jess Goldstein

Howard Sherman

Jess Goldstein’s work in costume design is perhaps most familiar from Jersey Boys, which has been playing around the world for the past 14 years. His Broadway credits include Tintypes (1980), The Most Happy Fella (1992), Love! Valour! Compassion! (1995), Take Me Out (2003), The Rivals (2004), The Merchant of Venice (2010), Newsies (2010), and On the Town (2014). His roughly 90 Off-Broadway credits include the original New York production of Buried Child, as well as multiple plays by Jon Robin Baitz, Terrence McNally, and Donald Margulies. He has also designed extensively in regional theatre and opera, and has been on the design faculty of the Yale School of Drama since 1990. He retires from Yale at the end of the current academic year.

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Designer and Educator Michael Yeargan
Designer and Educator Michael Yeargan

A Conversation with Designer & Educator Michael Yeargan

Howard Sherman

From his days as an elementary school student in Texas enraptured by opera to his Tony Award-wining scenic designs for The Light in the Piazza and South Pacific, Michael Yeargan has been creating worlds for audiences on stages across the U.S. and in Europe. Throughout that time, he has also been teaching generations of set designers as a member of the faculty, and now co-chair of the design department, at the Yale School of Drama. In a wide-ranging interview with Stage Directions' contributing editor Howard Sherman, Yeargan spoke of his start building shadow box sets while still a child to the intricacies of his celebrated designs; Stage Directions will be sharing several portions of that conversation in coming months, both in print and online. In this excerpt, [which has been edited and condensed for space] Yeargan traces the line from his opera work to his series of collaborations with Bartlett Sher in New York’s Vivian Beaumont Theater, which in addition to his Tony winning shows, includes The King and I and My Fair Lady.

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OISTAT Celebrates 50 Years

Richard Bryant

OISTAT (International Organization of Scenographers, Theatre Architects and Technicians) recently returned to Cardiff, Wales in 2018 to celebrate its 50th anniversary. The host venue, The Royal Welsh College of Music and Drama (RWCMD), became the meeting place for this multinational event. Designer and professor Sean Crowley of the RWCMD, who was assisted by the students and staff of the school, and OISTAT executive director Wan-Jung Wei, along with her staff, helped to bring together a smooth running and well-organized series of symposiums, meetings, and workshops. 

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Adaptive Design

Michael Eddy

Scenic Designer Edward Pierce talks design supervision, and 70 scene changes
Edward Pierce has worked for over 20 years on theater and entertainment projects around the globe including the Broadway scenic designs for Holler If Ya Hear Me, Amazing Grace, and The Other Place (the last two with co-designer Eugene Lee); lighting design for the Broadway revival of A Streetcar Named Desire; and he was associate scenic designer on both Bright Star and the Tony Award-winning scenic design for the hit musical Wicked. 

Edward PierceThis year, Pierce shared a Tony nomination with scenic designer Ian MacNeil, for the recent Broadway revival of Angels in America that came over from London’s National Theatre. For this production, Pierce was credited with design adaptation for making the changes necessary for the move from London to Broadway. Pierce heads up edwardpierce studio, who with designers Jen Price-Fick and Stephan Devan, have carved out a niche as design supervisors for Broadway productions that are going to tour or sit-down for a long run, both nationally and around the world.

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EMBRACE™ Microphones, from Point Source Audio, used in the student-led productions at Belmont University
EMBRACE™ Microphones, from Point Source Audio, used in the student-led productions at Belmont University

The Point Source Audio Sounding Board: The Production Strategy for Saving Face at Belmont University

Point Source Audio Sounding Board

The student-led orientation of Belmont University’s College of Visual and Performing Arts program in Nashville, TN is the ideal environment for students to learn the trade of theater production and acting. But the benefits of this hands-on educational approach were coming at an increasingly higher cost for the school, as students were regularly rendering the school’s lav mics unusable by hastily removing the taped-on mics after performances and rehearsals. The result was student actors uncomfortable with taped mics to the face, and a rash of defective mics and cables. The problem was ultimately solved by the school upgrading from the low-tech manner of taping mics to the face, to the highly concealable and stable EMBRACE™ earmount microphones by Point Source Audio.

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PSA lavaliers offered the right vocal reinforcement through all the blood, sweat and tears of Sweeney Todd for San Francisco Opera.
PSA lavaliers offered the right vocal reinforcement through all the blood, sweat and tears of Sweeney Todd for San Francisco Opera.

The Point Source Audio Sounding Board: Mic'ing Messy Halloween & Horror Performances

Numerous untold buckets of faux blood and guts will be spilled on stages across the country. The shock and awe of macabre special effects are all fun and games—until you kill an expensive microphone with a splash of Kensington Gore.

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The Point Source Audio Sounding Board Blog: Microphone Survival in a Monsoon (Wedding)

Whether you’re producing an outdoor performance in inclement weather or a stage show that involves rain showers, you’ll need to consider how waterproof your mics are. We covered waterproof microphones and taking care of mics after they get wet in our Halloween mic gore-proofing post. Here we are going to take a look at how sound designers and audio crew set up Point Source Audio microphones in the wet and wild performance of Monsoon Wedding.

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