Baskerville: A Sherlock Holmes Mystery
Costume Designer
Baskerville: A Sherlock Holmes Mystery at the University of North Dakota was a whimsical and fast-paced production where the concept revolved around play, imagination, and game-making both on stage and in the design process. I stepped into the project partway through, taking over from a student designer and working to honor their original vision while reimagining elements to better reflect the energetic, game-like world we wanted to build. With three actors portraying over 40 characters, quick changes were constant and essential—we used false fronts, false backs, and strategically placed snaps to allow seamless transitions right on stage, as no actor ever exited. The design embraced a bright, theatrical tone, helping each character shift feel distinct and playful. For Sherlock and Watson, we focused on creating iconic, recognizable looks that evolved subtly throughout the show, suggesting an origin-story arc as they grew more confident and defined in their roles. The overall design became a celebration of theatricality, storytelling, and transformation in real time.
Photos taken by: Manstorm Photography
First Date
Costume Designer
First Date at the University of North Dakota was a lively and playful production, and the costume design embraced that spirit with a concept centered around brightness, fun, and just the right amount of awkwardness—just like most first dates. The core idea was to contrast reality with imagination: everyday costumes were grounded and subtle, while internal monologues and character fantasies exploded with color, pattern, and bold texture. Each actor remained on stage throughout the show, transforming in real time using costume pieces hung on hooks attached to the set, allowing for seamless and visually engaging transitions. Characters like Google, Facebook, over-the-top exes, and a scene-stealing waiter were designed as heightened, almost caricatured versions of themselves—featuring exaggerated silhouettes, flashy fabrics, and even feathers—to emphasize the chaotic and surreal inner world of dating. This contrast brought energy and humor to the stage while keeping the heart of the story intact.
Wait Until Dark
Costume Designer
For Wait Until Dark at the University of North Dakota, the costume design was rooted in a 1960s monochromatic palette, aligning with the suspenseful tone of the play while staying true to the period. Authenticity was key, with each costume carefully researched to reflect the era and subtly emphasize character dynamics. The three con men, including Roat, were dressed in coordinated patterns and textures, creating a visual link between them while also distinguishing their individual social statuses through fabric quality and fit. In contrast, the young couple brought a refreshing vibrancy to the stage—their costumes featured pops of color and a more relaxed style, symbolizing warmth, life, and hope amid the tension. This balance of tone and texture helped support the emotional landscape of the play while keeping the design grounded in its 1960s setting.
Silent Sky
Blackhills Playhouse
Costume Designer
Designing Silent Sky for the Black Hills Playhouse was an inspiring experience, as the play honors the remarkable women who helped shape our understanding of the universe. The design concept centered around the idea of deep space colliding with the real world—each character was inspired by a comet or constellation, some of which orbit close together, while others pass one another only once every few million years. This celestial metaphor guided the relationships and visual language of the costumes. I researched historically accurate fabrics and dyes from the time period and incorporated subtle shifts in silhouette to reflect the passage of time throughout the play, while still maintaining a sense of otherworldly elegance grounded in historical context.
Conference of the Birds
Costume Designer
In Conference of the Birds, I explored themes of spiritual discovery and inner divinity through costume design. Inspired by the ancient parable, where a group of birds journey through trials to find God—only to discover the divine within themselves—I focused on capturing both realism and transcendence. I researched bird species native to the Sahara, using feather color and pattern to draw a visual contrast between the earthly and the divine. Each headpiece was crafted from deconstructed baseball caps, reshaped to mimic the unique head structure of each bird. All feathers were handmade, with several featuring hand-painted silk to add depth and movement. This tactile, layered approach aimed to embody the transformation of the characters as they moved from seekers to enlightened beings.
Carrie: The Musical
Costume Designer
For Carrie: The Musical at the University of North Dakota , I explored the tension between individuality and conformity through costume design, with the theme "moments of oddity vs. herd mentality" guiding my choices. I used contemporary fashion silhouettes infused with a wide mix of textures, patterns, and fabrics to reflect the students’ attempt to assert individuality within a conformist high school environment. Carrie’s costumes were designed to contrast sharply with this—initially placing her in soft pastels to show her assimilation into the group, and then transforming her into bold, bright tones. Her final moment, drenched in vivid red blood, was a symbolic rebirth—marking the first time she steps into her true self, free from the expectations and control of others.
She Loves Me
Costume Designer
The University of Montana Theatre Department is producing this Musical Spring 2022 with Director Pamyla Stiehl. This production will use the 30's time period to produce a large theatrical piece full of love, life and happiness
Our aesthetic is bold and colorful against the lithograph background of the set pieces. We stayed close to the late 30's with a mixture of textures and colors to make each character stand out
Mother Courage and Her Children
Costume Designer
The University of Montana Theatre Department produced this play with Director Shane Lutz during 2021 Spring semester with Covid-19 precautions in place. Each Actor was masked and remained six feet apart for the entire production.
The masking lived in this world of Mother Courage with the Characters in the middle of a long war.
Our aesthetic was a mixture of the dust-bowl subsistence farmers, modern police SWAT teams, and post-apocalyptic.
Pride and Prejudice
Costume Designer
This production of Pride and Prejudice was to be the mainstage production of the spring semester. Due to the outbreak of Covid-19, the production was halted right before we were about to have the majority of our fittings as the University switched to remote and productions were put on hold. I am very thankful to everyone who worked on the production.