One of the biggest challenges of this design was balancing the two parallel realities. The DnD gametable is present on stage at all times, with the students playing the game and mirroring the motions their roleplay characters are performing in the world of Macbeth. On the other hand the students also entered the world as the witches, independent of their roleplay characters with the intent of causing chaos. A series of rolling arches served as portals between realities. Each witch had a customized arch, based on the celestial inspiration used for their costumes that they entered through to signify their entrance into the story. When the arches were facing the audience, it meant the witches were actively effecting the world of Macbeth, while the arches being turned brick side out meant they were merely acting as external puppeteers of the world.

The set is a combination of the papercraft gamepieces used in lower budget DnD set ups and simplified forms taken from castles. In conjunction with the mixed paint treatment it served as a constant reminder to the audience that the political intrigue of medieval Scotland was just a game, but the stakes were not. To the players the ability to overcome a fictional foe was a beacon of hope that they'd be able to overcome challenges posed by modern society.

The main indicator of the mood in the show is the state of flown elements. A series of stair-like pieces begin grounded, as a part of the castle's architecture. As disorder and betrayal tear apart the kingdom - and things begin to get heated at the gametable - the castle tears apar, scattering pieces across the board. Once the rightful king retakes the throne, all the gamepieces disappear from the board, leaving a bare castle. It acknowledges the emptiness of loss which comes with times of war and hardship, while celebrating the restoration of order and the room that is left for rebuilding a brighter world.

As the set designer on a show that had a lot of moving and interactive parts, I made it a priority to observe rehearsals early in the blocking process. This allowed me to determine which pieces needed to be at a higher trim to avoid causing an obstacle in combat sequences. Weapons were also mounted on the set, and were stored in audience view while not in use, so it was important for me to see where actors entered fights, to mount weapons in the most convenient location. 

I also served as the scenic charge for the show.

Macbeth by William Shakespeare

Adapted, Directed, and Fight Directed by Danielle Rosvally

Assistant Director: Quest Zeidler

Stage Manager: Evelyn McLaughlin

Assistant Stage Managers: Lyla Wasilewski and Allie Space

Choreography: Janet Werther

Photography: Eric Tronolone @erictronolone

Set Design: Maili Novak

Lighting Design: Ashtyn Rozenberg

Sound and Media Design: Lisa Gallagher

Prop Design: Phoenix Hall

Puppet Design: Faith Marsala

Costume Design: Sophia Larish

Makeup and Hair: Em Puffer

Dramaturgy: Val Fish and Christine Varnado

Fight Captain: Kendric Warrick