Epic Arts

When COVID hit, a simple drawing challenge prompted an obsession and an opportunity for me to learn new digital skills. Over 400+ drawings latter, I created Epic Arts: a celebration of all things pop culture!

Maybe you have heard of me?

Goldfish

Part of your woooooooorld!

What an incredible smell you've discovered!

You're no Jedi....

How do I save a miracle?

The Breakfast Club

Nanananananananana Batman!

The Dark Crystal

Toho Studios Godzilla vs Mecha, circa 1974?

Get to da choppa!!!!

If it bleeds, we can kill it.

The Good Place

Nightmare Before Christmas

Spider-Verse

Will the real Peter Parker please stand up?

Snow is best enjoyed with others.

Classic Rock vs Austin 3:16

Stranger Things

The greatest band of all time. U2.

The Wonderful Wizard of Oz

Legends.

Anybody want a peanut?

Space....the final frontier.

What kind of magic spell to use?

Chris

Yo Joe!

Keanu

Tea Party

Wonderland

G.I. Joe is there!

I never drink....wine.

LOTR

Rehearsal

Untitled Project for Directing Book cover art.

"School House Rock Live," 2024 (Sets, Lights, & Costumes)

Indiana Wesleyan University, 2024

Phillippe Performing Arts Center

*Sets, Lights, Costumes, co-design Projections

Director: Tammie Huntington

Music Director: Debbie Myers

Choreographer: Christina Davenport

Assistant Choreographer: Natalie Konow

Stage Manager: Kayla Branim

Props: Lindsay Rice

Photos: Glen Devitt

Conjunctions

Interjections

Interplanet Janet

Zero

Preamble

Gravity

Adjectives

"School House Rock Live" 2024

Bill

Mr. Morton

Interplanet Janet

Three

Gravity

Five

"Elf," 2023 (Directing)

Round Barn Theater , 2023

*Director

Music Director: Will Paddock

Choreographer: Cat Tron

Stage Manager: Emma Evenson

Producer and Sets: Adam Sahli

Costume Design: Angela Sahli

Lighting Design: Alex Koontz

TD/Scenic Charge/Sound Engineer: EJ Hancock

Props: Ash Christine

Photos: Angela Sahli

"Elf," 2023

"Anne of Green Gables," 2023 (Sets, Lights, & Sound)

IWU, 2023

Black Box Theater

*Sets, Lights, Sound

Director: Katie Wampler

Assistant Director: Liljani Gothberg

Costumes, Hair & Makeup: Lindsay Rice

SM: Allie Salsbury

Photos: Glen Devitt

Anne

"Beauty and the Beast," by Menken, Ashman, Rice, & Woolverton.

Indiana Wesleyan University , 2023

Phillippe Performing Arts Center

*Director, co-sets, costumes, & masks

Musical Director/Conductor: Dr. Jason Thompson

Vocal Director: Dr. Lisa Moore

Choreographer: Christina Davenport

Assistant Choreographer: Natalie Konow

Stage Manager: Nicole Wood

Assistant Stage Manager: Lydia Leichty

Assistant Stage Manager: Makenna Metzcar

Co-Scenic Design: Joanna Ruhl

Costume Shop Supervisor: Allie Salsbury

Assistant Costume Shop Supervisor: Ella Doyle

Costume Seamstress: Chris Purdom and Hoshea Miller

Lighting Designer/Programer: Ryan Akers

Lead Electrician: Shae Gillespie

Props Supervisor: Tucker O’Roark

Sound Technicians: Landin Willis and Addison Magers

Scenic Charges: Laila Haley, Joanna Ruhl, Lindsay Rice

Photographer: Glen Devitt and Scott Kulaga

"Beauty and the Beast," 2023

"Beauty and the Beast," 2023. One of our earliest discussions as a company was to introduce shadow puppetry to the opening prologue. Our hope was that by using some of the oldest storytelling methods, audiences would be surprised at the simplicity and children would go home and make shadow puppets on their walls. One of the gifts of theatre is that no matter the content, it usually finds a way to spark the inner child who longs for stories and magic tricks.

"Beauty and the Beast," 2023

Projections by Grosh Digital. This was my first experience using projections because the scale of the show demanded it. I was happy with the results and hope to use more in the future.

"Beauty and the Beast," 2023

I designed all the castle elements and Joanna Ruhl designed the town and Gaston sequences. This helped us share load and made it that the two places had distinct nuances from each other.

"Beauty and the Beast," 2023

PR photo by Scott Kulaga

"Beauty and the Beast," 2023

"The Mousetrap," by Agatha Christie

Indiana Wesleyan University, 2022

Black Box Theater

*Scenic, Lighting, & Costumes

Directed by Katie Wampler

Sound by Morgan Keller

Light Programing/Lead Electrician Shea Gillespie

Wardrobe Head Allie Salsbury

Scenic Charge Laila Haley

Photos by Glen Devitt

"Mousetrap," 2022

"The Servant of Two Masters," by Carlo Goldoni

Indiana Wesleyan University, 2022

Black Box Theater

*Director, Costumes, Sets, Lights

Masks by Doug Berkey

Prop Master Tucker O’Roark

Scenic Charge Laila Haley

Photos by Glen Devitt

"The Servant of Two Masters," 2022

This was the show I was directing in 2020 and after we returned from an early March Spring Break, COVID shut down the world. We had some of the original actors returned, but mostly a new cast. It was joyous to revisit the comedy and especially well attended. People seemed ready to laugh again!

"The Servant of Two Masters," 2022

"Romeo and Juliet," by William Shakespeare

Indiana Wesleyan University, 2021

Black Box Theater

Directed by Katie Wampler

*Sets and lights

Costumes and Hair by Olivia Fox

Photos by Glen Devitt

"Romeo and Juliet," 2021

Steampunk. Seemed like an interesting idea, and popular with young audiences. Two households stand in stark opposition, steampunk fuses fantasy and industrialization, it’s aggressive but also elegant, it’s the past colliding with an unknown future, it’s brutal but also practical, it’s imaginative but also coarse. Sounds like Shakespeare to me.

"Romeo and Juliet," 2021

"Doubt," by Patrick Shanley

Indiana Wesleyan University, 2020

Black Box Theater

*Scenic Designer

Directed by Katie Wampler

Costumes by Ashley Cross

Sound by Bailey Hunt

Lights by Austin Hendricks

Windows by Austin Hendricks & Ryan Akers

Hair & Makeup by Shelby Robbins

Assistant Scenic Charge Aynsley Vermilya

Photos by Glen Devitt

"Doubt," 2020

"Pride and Prejudice," by Jane Austen (Adapted by Jon Jory)

Indiana Wesleyan University, 2019

Black Box Theater

*Sets, Lights, & Costumes

Directed by Katie Wampler

Assistant Costume Designers: Kayla Fase & Kylie Adams

Guest Seamstress: Chris Purdom

Hair & Makeup by Kayla Fase & Kylie Adams

Assistant Lighting by Stiner Richey

Sound by Jennifer Kessler & Lacey Brianne

Stage Manager: Amanda Añez

Photos by Glen Devitt

"Pride and Prejudice," 2019

There’s perhaps no more recognizable a style as the English Regency. Marked as a time where the English were forced into country-side isolation from the shadow of the Napoleonic Wars, we knew our production would lean into the historical aesthetic as much as possible. The set and lights called for a minimal design to complement the lightning pace vignettes of Austin’s story. Costuming gave us the opportunity to hire a seamstress familiar with the time period and able to offer student workers and designers with new skills.

"Pride and Prejudice," 2019

"Guys and Dolls," by Loesser, Swerling, & Burrows

Indiana Wesleyan University, 2019

Phillippe Performing Arts Center

*Scenic Design

Directed by Lisa Moore

Music Director Jason Thompson

Costumes by Courtney Craft

Props by Ashely Cross

Lights by Ryan Akers

Hair & Makeup by Lexi Purdue

Sound by Jennifer Kessler

Drop Rentals by Kenmark, Grosh, Danzien

Photos by Glen Devitt

"Guys and Dolls," 2019

"The Lion King Jr." by Rice, John, Allers, Mecchi, et. al.

Marion Community School of the Arts, 2019

F. Ritchie Walton Theater, Marion High School

*Sets, Masks, & Director

Costumes by Nikki Bailey

Lights & projection by Shelly Inskeep

Hair & Makeup by Company members

Props by Rachel Marley

Additional masks & puppets by Company members

Choreography by Kirsten Hiller

Musical Direction by Michele Henry

Photos by Glen Devitt

"The Lion King Jr." 2019

"The Miser," by Molière (translated by David Chambers)

Indiana Wesleyan University, 2018

*Scenic Designer & Director

Costumes by Courtney Craft

Sound by Aaron Budde

Lights by Austin Hendricks

Props by Ashely Cross

Hair & Makeup by Mesha McClary

Photos by Glen Devitt

"The Miser," 2018

“The Miser” was an unapologetic riff on 80s consumerism, greed, glamour, and avarice. We fused MTV culture with Wall Street figures and commercial Easter eggs. Moliére lends him self to such self-deprecating introspection and satire.

"The Miser," 2018

"The Miser," 2019

"The Miser," 2018

"The Miser," 2019

"The Miser," 2018

"The Tempest," by William Shakespeare

Marion Community School of the Arts, 2017

F. Ritchie Walton Theatre, Marion High School

*Director, Sets, & Puppets

Costumes by Nikki Bailey

Lights & Projection by Shelly Inskeep & Jerry Palmer

Props by Rachel Marley

Photos by Glen Devitt

"The Tempest," 2017

"King Lear," by William Shakespeare

Sweet Tea Theatre, 2017

*Scaenae frons

TD Barry Jaked

Director Jeremy Fiebig

Scenic Charge Meredith Riggan

"King Lear," 2017

"Willy Wonka," BRICUSSE, NEWLEY, & MCDONALD

Marion Community School of the Arts, 2017

F. Ritchie Walton Theater, Marion High School

*Director & Sets

Lights by Shelly Inskeep & Jerry Palmer

Costumes by Nikki Bailey

Props by Rachel Marley

Music Direction by Kendra Hoffert

Choreography Brandi Revenaugh

Drop Rental by Kenmark

Photos by Glen Devitt

"Willy Wonka," 2017

"You're A Good Man, Charlie Brown," by Gordon & Gesner

Indiana Wesleyan University, 2017

Phillippe Auditorium

*Scenic Design

Directed by Katie Wampler

Music Direction by Tammie Huntington

Orchestra Davy Chinn

Lights by Bev Wagner

Costumes by Courtney Craft

Props by Eily Hite & Ashley Cross

Hair & Makeup by Bizzy Miner

Sound by Jamie Comisford

Photos by Glen Devitt

"You're A Good Man, Charlie Brown," 2017

"Macbeth," by William Shakespeare

Indiana Wesleyan University, 2016

Black Box Theater

*Sets & Lights

Directed by Katie Wampler

Costumes by Carolyn Snead

Hair & Makeup by Courtney Hallet

Sound by Christian Keffer

Photos by Glen Devitt

"Macbeth," 2016

Our production of the Scottish Play drew on the toxic political rhetoric of 2016 with promises of higher walls and mightier leadership. Inspired by Serj Tankian’s (from System of a Down) “Empty Walls,” a post 9/11 protest song addressing America’s seemingly endless war(s) in the Middle-East, and Banksy’s cheeky street art, I looked to create an urban decay decorated by vibrant protest art that under black light, would act as the realm of the witches. Combined with what our costumer called Urban Elizabethan, we co-created an environment that felt familiar but distant, relevant but metaphorical and lyrical.

"Macbeth," 2016

"The Pirates of Penzance," Gilbert & Sullivan

Indiana Wesleyan University, 2016

Phillippe Auditorium

*Scenic Design

Directed by Lisa Dawson & Keith Brautigam

Orchestra by Jason Thompson

Lights by Bev Wagner

Hair/Makeup by Nate Hudson

Scenic Charge Joanna Ruhl

Props by Ryan Wheeler & Sam Tenuto

Costumes by Kandra Tenuto

Photos by Glen Devitt

"The Pirates of Penzance," 2016

My design for “Pirates” was an unapologetic tribute to Monty Python, the perfect merger of modern absurdist humor with Gilbert and Sullivan’s high brow comedy. Design choices were cartoonish, animated, and obnoxiously self-important. Of particular glee was the literal arrival of Queen Victoria à la God’s appearance in the “Holy Grail,” one of the greatest comedy films in Western cinema.

"The Pirates of Penzance," 2016

"Seven," by Cizmar, Filloux, Kriegle, Mack, Margraff, Deavere Smith, & Yankowitz

Indiana Wesleyan University, 2016

Black Box Theater

*Lighting Design

Directed by Katie Wampler

Scenery by Courtney Craft

Costumes by Stephanie Lamb

Sound by Casey Martin

Photos by Glen Devitt

"Seven," 2016

Inspired by Tan Dun’s “Water Passion of St. Matthew,” this production featured water as a fundamental element uniting global women, their plight, their basic human needs, and their shared facility. My goal in lighting was to accent silhouette and draw attention to the interaction of water, creating a ritual performance space between actresses and audiences.

"Seven," 2016

"And A Child Shall Lead Them," by Michael Slade

Marion Community School of the Arts, 2016

F. Ritchie Walton Theater, Marion High School

*Directing, Sound, & Sets

Lights by Shelly Inskeep

Costumes by Nikki Bailey

Props by Rachel Marley

Photos by Glen Devitt

"And a Child Shall Lead Them," 2016

Personal Note: I don’t know if a theatre artist is allowed to have a favorite show or favorite stage memory; favorites are entirely subjective and change as we grow in our experiences. I can say, however, that “Child” will always be one of my proudest moments in theatre: partially because of the content, its story about the necessity of art, the realities of political injustice, and the fragility of our children, and partially because of the specific relationships I had with the children I directed in it and our rehearsal journey together staging this profound story.

"And a Child Shall Lead Them," 2016

"South Pacific," Rogers & Hammerstein

Indiana Wesleyan University, 2015

Phillippe Auditorium

*Scenic Design

Directed by Katie Wampler

Vocal Direction by Jess Munoz

Musical Direction by Jason Thompson

Lights by Rob Pelance & Bev Wagner

Props by Ryan Wheeler

Sound by Casey Martin

Choreography by Kory Browder

Costumes by Kandra Tenuto & Courtney Craft

Photos by Glen Devitt

"South Pacific," 2015

"Love, Marriage, & a Baby Carriage," by Molière, Chekov, & Wilder

Indiana Wesleyan University, 2015

Black Box Theater

*Director

Sets by Joanna Ruhl

Masks by Doug Berky

Lights by Ryan Akers

Hair, Makeup, & Costumes by Courtney Craft

Photos by Glen Devitt

"The Proposal," 2015

"The Imaginary Cuckold," 2015

"Infancy," 2015

"The Bear," 2015

"The Guys," by Anne Nelson

Indiana Wesleyan University, 2014

Black Box Theater

*Scenic Design

Directed by Sharla Ball

Lights by Ryan Akers

Sound by Bart Bland

Props by Brad Dennis

Costumes by Kandra Tenuto

Hair/Makeup by Stephanie Lamb

Photos by Glen Devitt

"The Guys," 2014

On the morning of 9/11, William Basinski videoed the burning skyline of lower Manhattan from a Brooklyn rooftop. While he was trying to transfer previous tapes into digital format, they gradually deteriorated and became part of a series of albums entitled the Disintegration Loops. My design attempted to capture the skyline silhouette of 9/11 from his album cover to illustrate the fragility of “The Guys” through paper scraps ubiquitous to images from that horrible day. Now lost in time, those papers—created by dutiful office clerks, interns, and civilians—served as communal elements for the countless lives scattered into the winds, never to be recovered from the rubble of an American tragedy.

"The Guys," 2014

"Beauty and the Beast," by Menken & Woolverton

Marion Community School of the Arts, 2015

F. Ritchie Walton Theater, Marion High School

*Director & Mask

Musical Direction by Todd Swyswerda

Choreography by Brandi Revenaugh

*Co-designed sets with Ryan Akers

Costumes by Nikki Bailey & Shelly Inskeep

Lights by Jerry Palmer

Props by Rachel Marley & Danny Brothers

Photos by Glen Devitt

"Beauty and the Beast," 2015

"A Midsummer Night's Dream," by William Shakespeare

Indiana Wesleyan University, 2014

Black Box Theater

*Co-designed Costumes/Masks

*Kandra Tenuto (costumes: fairies)

*Stephanie Lamb (costumes: Rude Mechanicals & Bottom’s ass)

Directed by Katie Wampler

Sets by Ryan Akers

Lights by Daniel Maloy & Bev Wagner

Hair/Flowers/Makeup by Courtney Craft

Sound by Casey Martin

Photos by Glen Devitt

"A Midsummer Night's Dream," 2014

Inspired by the Art Nouveau aesthetic, my mask and costume designs tried to emphasize the blur between organic forms, lush jewelry and floral patterns, and long, sinuous lines.

"A Midsummer Night's Dream," 2014

"Midsummer Night's Dream," 2014

"No Exit," by Jean-Paul Sartre

Indiana Wesleyan University, 2014

Black Box Theater

*Director

Sets by Greg Fiebig

Lights by Rob Pelance

Hair & Makeup by Courtney Craft

Costumes by Tyler Herning

Photos by Rachael Stuckey

"No Exit," 2014

"The Crucible," by Arthur Miller

Indiana Wesleyan University, 2013

Black Box Theater

*Scenic Design

Directed by Katie Wampler

Lights by Adam Fike

Costumes by Tyler Herning

Hair & Makeup by Courtney Westveer

Photos by Rachael Stuckey

"The Crucible," 2013

My design for “Crucible” imagined that the Puritans had not so much landed on Plymouth Rock, but shipwrecked. Dominating the design with timber, hemp rope, and sever angles, I was looking to create a space that was primitive and dangerous. I also placed the set in an alley so that audiences were forced to be divided from each other and consider what it was like to “take sides” in a high stakes game played between religious zealots, petty land owners, and scored lovers.

"The Crucible," 2013

"The Glass Menagerie," by Tennessee Williams

Wayland Baptist University, 2013

Spencer Theater, NM

*Sets, Props, & Sound

Directed by Marti Runnels

Costumes by Dede Runnels

"Glass Menagerie," 2013

"Steel Magnolias," by Robert Harling

Wayland Baptist University, 2012

Spencer Theater, NM

*Sets, Props, & Sound

Directed by Marti Runnels

Costumes by Dede Runnels

"Steel Magnolias," 2012

"The God of Carnage," by Yasmina Reza

Wayland Baptist University, 2012

Black Box Theater

*Sets, Lights, & Sound

Directed by Marti Runnels

Costumes by Dede Runnels

Photos by Caitlyn Thurman

"God of Carnage," 2012

“God of Carnage” is a savage ritual of destruction simplified through the lens of situational adult comedy. In my design, the purpose of the color scheme, textures, lines, gels, and ecclectic furnishings was to create a sleekly modern altar where a pair of grown ups fail to act like civilized adults and consume each other. The dominant red floor was also a tribute to the unique vision of Mark Rothko, whose 20th century art brought attention to the powerful symbology of color and the indelible myths we insert onto simple landscapes of depth whenever we search for meaning in art.

"God of Carnage," 2012

"The Last Night of Ballyhoo," by Alfred Uhry

Wayland Baptist University, 2010

Black Box Theater

*Sets, Lights, & Sound

Directed by Marti Runnels

Hair by Rita Cox

Costumes by Dede Runnels

"The Last Night of Ballyhoo," 2010

"The Pillowman," by Martin McDonagh

Texas Tech University, 2007

Firehouse Theater

*Scenic Design

Directed by Linda Donahue

Costumes by Melissa Mertz

Lights by Robert Todd

Sound by Jeremy Lunsford

"The Pillowman," 2007

I was originally inspired by the pop up illustrations of Jan Pienkowski, whose illustrations of children’s books were whimsical but menacing, colorful but simple, childish but complicated. During our production, a fire in our theatre forced the show into a new space, ironically the Firehouse Theatre in Lubbock, Texas. Some of the original ideas had to be simplified, but overall, the play captured Martin McDonagh’s evocative views of art, censorship, storytelling, and autocracy.

"The Pillowman," 2007

Additional Designs

"Hans Christian Andersen," BGSU Treehouse Troupe, 2001

All ideas have to start somewhere; this was my first scenic design. Inspired by the art of Chuck Jones and Tex Avery from “Looney Toons.”

"Into The Woods," 2017 IWU, Milky White Puppet

"The Tender Land," 2014 IWU, sets

"Die Fledermaus," 2017 IWU, sets

Poster Design, Texas Tech University, 2006

"Scrooge," CSA 2015 (Ghost of Christmas Future puppet)

Aslan (puppet), CSA "The Lion, The Witch, and The Wardrobe," 2016

Jolly Roger, CSA "Wendy and Pan," 2017

"Same Time Next Year," (Lubbock Civic) 2007 sets

I’m not going to lie, I know I designed this show, pulled furniture, and painted the walls. I know I was part of load-in and strike, but in truth, I don’t remember a single moment. Sometimes the work is a total blur!

"The Pirates of Penzance," (Lubbock Moonlight Musicals) 2008 sets and lights

"Charlie Brown," 2012 sets and lights (WBU)

Peanuts images were used with permission.

"Charlie Brown," 2012 sets and lights (WBU)

"Monday After the Miracle," (WBU) 2011 sets, lights, sound

"Seven," 2011 sets and lights (WBU)

"Seven," IWU 2022 (lights)

"Seven," 2022 (lights)

"Musical Mayhem," 2011 sets and lights (WBU)

"3 by Charms," 2006, sets (TTU)

Of all my designs, I’m most proud of this early work where I felt that my personal aesthetic matched the aim of the writer, and wheelhouse of the director. Daniil Kharms was a Soviet-era writer and absurdist. This original play about his works was strongly familiar and I felt called for a world where now two characters could exist on the same plane or level.