My next show, Into the Breeches!, is coming up soon, and I’d love for you to join us! I will be at Opening Night on Friday, March 7, at 7:30 PM at the Irving Arts Center (3333 N MacArthur Blvd, Irving, TX 75062).

To kick off the evening, I'm hosting a pre-show cocktail and appetizer reception at The Ritz-Carlton Las Colinas(4150 N MacArthur Blvd, Irving, TX 75038) starting at 5:00 PM. It’s just a quick 5-minute drive to the theater, so you’ll have plenty of time to enjoy some bites, sip on a drink, and mingle before the curtain rises.

🎟️ Get your tickets here: Purchase Tickets
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Hope to see you there to celebrate Opening Night with us!

As a set designer, there’s something uniquely fascinating about seeing how other companies interpret shows I’ve designed. Whether it’s a local community theater, a regional production, or even a Broadway revival, each staging offers a fresh perspective—sometimes familiar, sometimes wildly different.

Recently, I had the chance to see another production of Spamalot. Having won a Column Award for Best Original Set Design for my version, I was eager to see how another creative team approached the same world. The differences in staging, set pieces, and overall aesthetic were very different. While my version leaned into a storybook-meets-Monty-Python absurdity, this one emphasized a more minimalist approach. It’s always fascinating to see what elements are universal and which are reimagined.

Similarly, Phantom (not the Phantom of the Opera, but the Maury Yeston and Arthur Kopit version) remains one of my favorite projects. When I worked on it, I focused on the gothic romance and grand scale of the Paris Opera House. Another company’s production I recently saw took a completely different route, an in concert version with no scenery. While a concert version focus on the music it reminded me how much a set can influence an audience’s emotional journey through a story.

It’s easy to get attached to our own designs. After all, we spend countless hours drafting, constructing, and perfecting them. But seeing other designers’ takes on the same shows is a reminder that theater is a living, evolving art form. No two productions are ever truly the same, and that’s what makes this industry so thrilling.

Designing the Controlled Chaos of Noises Off
There’s no other show quite like Noises Off. As a set designer, tackling this farcical masterpiece is both a thrilling and formidable challenge. Michael Frayn’s play is often called “the funniest farce ever written,” but behind the rapid-fire dialogue and perfectly timed entrances and exits lies a set that must be just as meticulously orchestrated as the performance itself. This will be my third time designing this epic show, and each time brings new lessons and refinements to the process.
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The Duality of the Set
The biggest challenge in designing Noises Off is that the set is essentially two sets in one. The first act takes place in a traditional English country home—meant to represent the set of the fictional play Nothing On. But in Act Two, the entire set must be reversed to show the backstage area, revealing the chaotic inner workings of a disastrous theater production. This means constructing a revolving or modular set that can seamlessly flip between these two perspectives, all while maintaining structural integrity and a period-appropriate aesthetic.

Engineering for Comedy
Timing is everything in farce, and the set plays a crucial role in ensuring comedic precision. Doors must open and close with ease (or slam shut at just the right moment), stairs must be sturdy enough for frantic chases, and props need to be strategically placed to create mayhem. One misalignment or delayed movement can throw off an entire scene. During the design process, every door, window, and entrance is planned with the actors' blocking in mind to allow for maximum comedic effect.

Durability vs. Functionality
With a show as physically demanding as Noises Off, the set takes a beating every performance. The constant running up and down stairs, slamming of doors, and accidental (or intentional) destruction of props require a set that is not only functional but also incredibly durable. Materials must be carefully chosen to withstand nightly abuse while still looking realistic. Finding the balance between safety, durability, and the need for pieces to move or collapse in just the right way is key.

The Illusion of Spontaneity
One of the greatest ironies of Noises Off is that while it appears to be a play spiraling into complete chaos, it is, in fact, one of the most technically precise shows to stage. Every element—from the movement of the actors to the placement of a fallen prop—must be choreographed down to the second. The set must allow for this level of precision while still maintaining the illusion that everything is falling apart in real-time.

Final Thoughts
Designing Noises Off is a test of both creativity and technical problem-solving. It demands an understanding of not just set design, but also the mechanics of farce, the physics of construction, and the rhythm of comedy. But when it all comes together, there’s nothing more satisfying than watching the audience erupt in laughter at the beautifully orchestrated chaos happening on stage.
For anyone working on this show—be it the cast, crew, or designers—the result is a labor of love that proves just how much thought and effort go into making mayhem look effortless. After designing this production twice before, I can say with certainty that each experience has deepened my appreciation for the ingenuity and precision required to bring this play to life.

The Design Vision
One of the most thrilling aspects of designing Into the Breeches! is capturing both the setting of the 1940s and the whimsical, creative world of a theater in transition. The set needed to evoke the grandeur of a traditional theater space while allowing for intimate moments that showcase the characters' journey. I wanted to create a design that feels both nostalgic and imaginative — a space that transforms as the women's confidence grows and their production comes to life.

Challenges and Creative Solutions
A primary challenge in this production was balancing the dual worlds of backstage and onstage theatrics. We needed to seamlessly shift between scenes that take place in the theater’s rehearsal space and moments that capture glimpses of their ambitious Shakespearean performance.
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