When I was asked to design Newsies, my first sketch began with a simple idea: bringing a moment in history straight from the pages of a newspaper to the stage. As one of my favorite musicals of all time, Newsies has always held a special place in my heart. Having previously worked on a production of the show on this very same stage, I saw this as an opportunity to create something that honored the story while looking completely different from the last time it was produced.
While Newsies is often staged with large moving scenery and extensive projections to capture the energy and scale of New York City, this production called for a different approach. The set needed to remain stationary while serving as a dynamic playground for a high school cast, allowing the performers to bring the world to life through movement and storytelling.
Instead of relying on constant scenic changes, I designed a multi level environment that encouraged fluid choreography, striking stage pictures, and seamless transitions between locations. smaller props and set pieces like tables would shape what the players would do during the next scene. Inspired by the texture and layout of a newspaper, the design became a visual motif woven throughout the set, creating a world that felt both rooted in history and uniquely its own. The result was a fresh interpretation of Newsies that balanced creativity, functionality, and the boundless energy of its cast.
Visually, I drew inspiration from the New York that these Newsies would have known, or at least my interpretation of it. I looked to the city's aging neighborhoods, the makeshift shanty towns of the Great Depression, and the weathered brick buildings and wooden scaffolding that defined its industrial landscape. I wanted the environment to feel worn, lived in, and shaped by the people who called it home. and keeping "The World" at the center of it all.
Throughout the design, the motif of the newspaper became a guiding visual language. My goal was for the scenery to frame the action much like the pages of a newspaper frame a story. As the characters moved through the world, I wanted the audience to feel as though they were watching the headlines come to life, experiencing the events of the famous Newsboys' Strike as if they were reading about them for the very first time.
Every production comes with its own unique challenges, and Newsies was no exception. Throughout the entire design and build process, I was living more than 2,000 miles away from the theatre, making daily collaboration and on site problem solving impossible. Without the ability to be in the shop or rehearsal room, I knew the design would need to evolve through the hands of the incredible team bringing it to life.
We established a workflow where any major design changes came through me, while smaller adjustments were left to the discretion of the technical team to keep the build moving efficiently. That level of trust was essential, and it allowed the production to continue without unnecessary delays.
As with any collaborative art form, some elements changed from the original concept, but the heart of the design remained intact. Seeing the finished production reminded me that great theatre is never the work of one person alone. I am incredibly proud of what we accomplished together, and the production's charge artist deserves tremendous credit for transforming the design into a beautifully realized world on stage.
This is, without question, one of my favorite sets I have had the privilege of designing. It was a true labor of love from beginning to end.
My dear friend Pam first reached out to ask if I would design the set for Wasilla High School's production of Newsies. There was never a question in my mind. I was honored to be a part of it. During the design process, however, Pam unexpectedly passed away. The loss was deeply felt by everyone involved, and for a time it was difficult to imagine moving forward with the production.
Eventually, the show's director, Kelly, reminded us of something that put everything into perspective: if we didn't do the show, Pam would probably be yelling at us from wherever she was. It was exactly the kind of encouragement she would have given herself, and it became the motivation we needed to keep creating.
From that point on, every sketch, revision, and design decision carried a little more meaning. I poured more of myself into this production than almost any other because it became more than a set. It became a way to honor a friend whose passion for theatre inspired so many people. While I wish I could have been there in person to support the company throughout the process, I am incredibly proud of what we created together, and I hope this design stands as a small tribute to Pam's lasting impact.
