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The Daily Wildcat

The Daily Wildcat


    ‘Stop Kiss’ gets technical

    After the beginning rehearsals of “”Stop Kiss,”” the technical work began. The lighting designer, sound designer, scenic designer, technical director, props manager and a troop of carpenters put together everything but the actors.

    For lighting designer and theatre arts master’s student David Carr, the lighting of a dramatic production is a new encounter.

    “”It’s very different, just working in the theater in general, it’s a very different environment,”” he said.

    “”It’s a different aesthetic. I’ve worked with dance lighting primarily. It’s a challenge to do a dramatic, straight play for once, and see how I can accomplish it.””

    Aaron Lee Newburn, a theatre arts junior, was given a chance to prove himself on his first show.

    “”This is my first design period,”” he said. “”This has certainly been a challenging show if solely because of the sheer number of scenes, and thus, scene transitions, which we need music for, little things, that kind of give it that pizzazz.””

    Trish Everett, the director, theater education and outreach graduate student, said that Newburn was a perfect fit for “”Stop Kiss.””

    “”Sound wise, this is a perfect show for Aaron, because the sound aesthetic of the show is really Aaron,”” she said. “”It’s the sort of music he listens to, so he knows the sound I’m looking for. He knows the bands to go to to find scene change music.””

    Andy Diaz, a theatre production senior and the scenic designer, was given a chance to break out of a mold.

    “”It’s my first non-children’s theater show to do for the University of Arizona school of theatre arts as the scenic designer,”” he said to cheers from the other designers. “”So there’s no bright colors anywhere, and there’s no whos-its and whats-its galore anywhere. Instead, it’s just a very literal New York setting. It’s challenging because I want it to look real and authentic.””

    Diaz has committed himself to the show. He works late into the night and has used a large amount of furniture to complete the set.

    Steven Contreras, the technical director and a theatre production senior, makes sure the show is on track in its technical endeavors.

    “”I plot out, draft and budget the actual construction of the show,”” he said.

    “”And I’m in charge of actually making sure it gets built. So I get drawings for us to build, basically blueprint the show. Then, I’m in charge of budgeting everything, making sure we can afford it all, that we have the timeframe and make sure we have the labor to get it all done.””

    Michelle Scalpone, the props manager and theatre production junior, got to step outside of her normal activities.

    “”I’m actually not a props major,”” she said. “”I’m a stage management major, so this has been a lot of fun for me, working out of my element, doing something completely new.””

    While outside of her element, Scalpone has excelled.

    “”She’s amazing, you need to see her Crockpot,”” Everett said. “”I’ve been really, really impressed with the things Michelle has been able to find and make.””

    The team of carpenters took Diaz’s designs and made the set three dimensional. Katie Stoll, the master carpenter and a chemical engineering freshman, Sean Chaffin, the master fabricator and a theatre production sophomore, and Meena Ramakesavan, a general carpenter and a theatre production junior, built the set, using skills ranging from wood-working to welding.

    Jill Petersen, the stage manager and a theatre production sophomore, keeps everyone together.

    “”She’s the brains behind the operation,”” said Everett. “”She organizes us and keeps us all sane, so without her we’d be lost. She likes to be bashful and hide in the dark, but we love her.””

    Looking ahead to opening night, Everett is pleased with the production.

    “”I think everybody has really done a good job,”” she said. “”I think the characters are really honest, they’re characters you could know and hang out with.””

    Although she will not be able to control the way things happen on the stage, she is ready to watch “”Stop Kiss”” take off on its own.

    “”It’s kind of like watching a kid take its first steps,”” she said. “”Watching my little cousins starting to toddle, you just have that moment, look at you, look at what you’re doing, this is amazing. I’m ready for that moment.””

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