The primary concern and challenge when designing this musical was accommodating for the very large ensemble, with an enormous 36 people being onstage at once. Because of this constraint, a large permanent set was not ideal, mixed with the fact that our venue does not have a fly system, a simple and mobile design was optimal. By putting four 8x4x2’ and two 8x6x2’ boxes on wheels, we were able to fully utilize all sides of the box throughout the course of the show. With a total of 6 wagons, with one side being painted completely white, and the other being brick or lockers, I designed roughly 26 different formations. This allowed for a greater contrast between Truman and Jackson scenes, as well as the occasional strategic projection placement. I was also in charge of ‘choreographing” all of the wagon movement for the show. Then, with the help of my scenic team, taught to the ensemble how to implement the movement during the show. We had two designated rehearsals to teach the actors where to place the wagons. A google sheet was made that clearly labeled and explained where, when, and who would move every single wagon throughout the entire show. We would then instruct the actors which colored spike tape was for which scene. Before each performance and dress rehearsal, I would lead a wagon call to practice the wagon movements that needed to be extremely precise. Two projectors were hung in the batons Stage Left and Right, and a third one was hung above the audience facing center. Projections were found/designed, mapped, kerned, and then cued into two different computers (one for the SL&SR projectors and one for center). The goal of the projections were to create as many different looks as possible leading for a visually appealing backdrop with significant variety between scenes. 

As the production stage manager I was in charge of ensuring that rehearsals proceeded accordingly when I was not actively directing the scenic design. I created a rehearsal report format that I continued to use in all my future shows. I then had my ASM take notes during rehearsal so that the entire company was informed of the changes and information presented at each rehearsal. I created and posted sign-in sheets, giving actors 10 and 5 minute warning when they had not signed in yet. I created and ensured that the prop list was completed and that all prop tables were organized. Lastly, I led a clean-up of the venue after every rehearsal, ensuring that all doors were closed, lights turned off, and props in their respective areas. This in conjunction with the paperwork I created for the scenic design created a very productive and efficient rehearsal space.