Hi, my name is Jack Andersen, and I'm the publicity head designer for Waukee Northwest High School's production of Mean Girls.

At the beginning of the design process, I met with various crew heads and we discussed concepts and designs for our show.

I took the idea of a simple modern design from this meeting and began to work.

I began updating our website to include our design team, staged a photo shoot of our lead actors and actresses posted to social media, and created our poster.

Our poster went through multiple drafts before it was complete.

We created many different activities to get our students and staff involved.

During the week at the show.

One of my favorite stunts included putting fake burn book pages all over the school.

All of this helped us to reach as many people as possible and to fill our auditorium on show weekend.

Hello, I'm Karlee Capson, and I was the lighting designer for Preston High School's production of Anything Goes.

This year, my director allowed me more creative freedom and independence for the lighting design process.

This resulted in a well put together show.

However, there were some struggles along the way.

When we focused the lights, we discovered the lights have been neglected for years and many couldn't be moved, so we had to rearrange how they fit on the plot.

I enjoyed the challenge of focusing the light.

It also created an opportunity to train my assistant.

The gels we used in the catwalk light soften the intensity of the color, and made the production feel more natural to the audience.

I love these transitions, the quick color changes and bold colors that enhance the humor and music of the show.

This was a silly, quirky show that allowed me to add a lively and unique style to the light.

I am grateful for everyone who helped me, especially the spotlight people.

The director, the clinicians I got to work with, and my two assistants in focusing light.

This was a great experience and I'm looking forward to next year.

Hi, I'm Selma and I got to design the costumes for a spring production of Monty Python's Spamalot.

We took on big projects like The Lady of the Lake and their many looks.

Tim the Enchanter and Knights of Ni, ball and chain dancers and monks.

We also did smaller layering pieces like the Finland skirts, the French Guard tunics and Gallants tunic.

Thank you so much for checking out my designs for our production of Monty Python.

Spamalot.

Hello, my name is Rebekah Geerdes and I was the production manager for Hoover's production of The Lightning Thief in April 2024.

Originally, I was a sound designer, which meant I would be put in charge of mic placements, sound effects, pre-show and post-show music.

At the start of this process.

I created a mic chart to help keep track of mics be because we only had a limited number of mics.

As the rehearsal process went on, I quickly started assisting to help the show be more successful throughout the production.

The areas of which I assisted were lighting, stage management, marketing and program design.

Some artifacts that I'm proud of.

Are my tech schedule, my attendance sheet and program.

I learned a lot through this process, and I look forward to doing this in my future endeavors.

As prop master, I got to take inventory, find and create props, and manage the props backstage by making sure that each prop was where it was supposed to be throughout the performance.

In our production, we had over 50 props.

These props took over two months to complete as a lead of our very small props crew, it definitely became stressful and overwhelming at times.

I spent many late nights and early mornings completing this project, and it was rewarding to see my dedication come together in the end.

Especially with the support of my directors cast and our PR directors.

Five year old daughter, Amelia Hines who I couldn't have done the show without.

My overall goal for this show was to help move the story along, by adding more character and detail to each of the scenes.

When doing so, I made sure to create differ.. for each of the settings, such as the village pub or the castle.

This required a lot of research and time to make sure that each prop not only fit the time period, but also the vision we had.

I collaborated closely with my directors and cast to achieve our goals and bringing our expectations to life.

Hello, my name is Gabriel Kramer, and I served as Nevada High School drama's business intern.

My main role in our production of Footloose was the oversight and creation of all of our digital and physical media that was shared.

The overall goal I had for this production was to create a coherent and completely cohesive media plan that allowed our community to easily recognize that something was from our production of Footloose.

I started off the design process by having conversations with directors about what we wanted to focus on with our show.

Initially, I created an original logo that our production could use on a variety of media.

This is both respecting the iconic Footloose media while also adding my own spin.

Then, as the season progresses, I created a poster that encapsulated the spirit and key moments of a high energy show like Footloose.

This posters then hung both at school .. to get our show out there and on the community's radar.

While I focus on physical media to help spread the word about our show, I also created social media posts highlighting big moments and key characters.

All the efforts of the directors and I led to a record breaking number of tickets sold for our program.

Hello, my name is Morgan Mapes, and I was a lighting designer and operator for Earlham's fall production of Shrek.

As the designer it was my responsibility to work with my director to establish mood and create the perfect lighting for each scene.

I read through the script and brainstormed how lights would be incorporated.

After meeting with my director, I spent time with our lighting technician at school to work through everything and program it just right.

Colored LEDs and spotlights were especially important in this show.

Each green spotlight helped show the transition of Fiona from human to ogre.

My goal was to create an atmosphere for each scene.

For example, there's only a small spotlig.. setting of Lord Farquaad's torture chamber.

The dragon scene I use dim red lights to match the ac.. and create more atmosphere in her lair.

Overall, I think I've grown much more as a technical theater person.

Between the lighting workshops at DMPA and working with her lighting technician, I learned a lot about programing and designing lights and gain valuable experience.

Hi, my name is Eleanor Meyer.

I was Grandview Christian School stage manager for their pr.. One of my main jobs in this role was organization.

I got to organize the places in which we were to practice the people that we're supposed to be practicing.

And of course, all of the props.

I had the absolute pleasure of communicating with so many people, and it was so much fun to set up whole programs.

in addition to running the ones that we already have.

On performance night, my main job was to make sure that everything went smoothly.

This included calling cues from the wings, as well as helping the tech team put on microphones to actors before they went on stage.

I am so grateful to God for this opportunity, and I look forward to doing similar things in the future.

Hi, my name is Ethan Mitchell and I served as the scenic design for Waukee High School's production of Spamalot.

Throughout this process, I was on enough to take under two associate scenic designers that I mentor throughout the process.

We started drafting designs back in December and reached our final design around mid-January.

This final design featured aspects such as towers on our p.. hills that served as railings for our mid stage platforms, and flying elements such as trees and clouds.

One of my personal favorite scenes from the show was the expensive forest, but we had multiple different aspects such as rolling trees and flown in bra..

When we then combine these with our chasing light borders, our design helped create a very interesting stage picture.

My Spamalot scenic design was easily the most fun I've ever had doing scenic design, and I can't wait to continue my passion in college.

Thank you.

Hello, I am Vanessa Rivas Pena and I was the stage manager for Gilbert's production of Freaky Friday.

I created an attendance sheet so I could inform the directors if there is any issues that they need to address regarding the actors.

I also created rehearsal notes and reports so directors can look back on how rehearsals went, changed anything that they wanted to, or make note of what they want to address at the next rehearsal.

Some of the things you'll see on screen are my agendas for set building, line notes, scene transitions, prop list, and some notes for my binder.

Not only was I stage managing, I also did promotion, writing our social media and I was also a teacher.

I'm a senior so I was teaching both my assistant stage manager and stage crew on everything they need to know.

For once I was gone and made sure they had all the tools they nee.. and other resources to be successful.

I learned a lot from being a stage manager for Freaky Friday.

Everything from the behind the scenes to how to be a good mentor.

My name is Cheyenne Selvy and I am currently a senior at Albia Community High School, and this year I was the sole costumer for our show Mary Poppins Junior.

When I was first promoted to costuming the show, I immediately began to explore each character's personality.

I conducted extensive research on each character to help with their costuming, drawing upon inspiration from previous productions of the show, as well as using vintage clothing to help with my vision.

I also wanted to maintain as much historical accuracy as possible while also making the show vibrant.

Mary Poppins is such a fun and nostalgic story, so I wanted my costumes to invoke those same feelings when viewed by the audience.

Costuming Mary Poppins was not an easy task with a minimal amount of money, resources, sizes, and cast members.

Finding what I wanted was extremely difficult.

However, Albia's Victorian style committee generously allowed me to look through their collection and pull articles that would help me reach my vision to further execute my vision properly.

I also added embellishments like lace to various pieces and altered numerous skirts, pants and dresses so they would all fit properly.

Seeing all of the costumes on stage without a doubt pulled the show together.

Greetings and salutations.

My name is Gavin Vander Linden, and I served as the publicity manager for Greene County's production of Into the Woods.

My role on the show was to brainstorm, schedule, and execute various ideas to promote our performances.

In my work, a few things I did ended up.. One of my favorite ideas was reading fairy tales to elementary school kids.

We had four of our actors go to our elementary school in costume to read fairy tales to the kids there.

Another thing we did that merited success was partnering with a local coffee shop, Chirp Coffee, to make promotional drinks.

As a part time barista who works there.

I was able to create the recipes myself, which was a lot of fun.

These drinks were very popular and helped spread even more awareness about the show.

This was a really fun experience working for the show, and I'm proud of the work I was able to accomplish.

Hi, my name is Charlotte York and I was the director of the orchestra in Dallas Center - Grime's production of The Addams Family.

The purpose of my role was to bring together a group of musicians, rehearse with those individuals, and then help smoothly integrate the orchestra with the cast.

One of the challenges I faced in this role was learning how to run a rehearsal effectively, and efficiently, to make rehearsals go as smoothly as possible and be beneficial for the group.

I put together a song schedule.

This made sure that we covered all the songs in the show and evenly spread out when we would learn them.

Another challenge I faced was learning to be comfortable in front of a group of my peers, and in a leadership role.

As we spent more time together, I was more prepared and relaxed rehearsals.

I learned a lot about how to look at the things that didn't go well.

Ask for feedback and then apply it to the next run through or rehearsal.

Specifically, when the cast lines don't line up with the cue to my music.

Overall, the show went smoothly and I am proud of the results.

Hello, my name is Ella Chatham and I was in charge of the front of House Co.. for Clear Creek Amana's production of The Wizard of Oz.

Our goal as the front of House Committee was to immerse our audience into the world of Oz.

As soon as I walked through the doors of our atrium.

Throughout the process, we focused on four main projects the Paper Poppies, Character Mural, Yellow Brick Road and Paper Mac.. Our group made roughly 125 paper poppies and were used to decorate the brick wall in our atrium.

The character mural was one of the longest projects since it was very large.

The yellow Brick road was the most recognized piece of our show.

It was laminated and taped to the floor.

The paper maché Oz was the most time consuming project and was used as a photo op.

While each project came with its own challenges, the overall product brought joy to our audience.

As soon as I walked through the doors.

Hello, my name is Chance Schultes.

I'm a senior at Coon Rapids Baird, and as the lead lighting designer and technician myself, along with my lighting team, design and execute the lights for our school's production of The Lightning Thief.

Our vision was to take this new aged rock musical and create a rock concert feel on stage.

Because the musical can move very fast in a short time frame.

We needed to create magical effects and highlight many different mythical villains and monsters throughout the show, but we needed to use more than our initial system would allow.

To accomplish all of this, we built an LED light strips that can be programed to any color with any configuration we wanted.

As a team, we spent several weeks building their equipment, problem solving, programing all the lights and learning the new software program to bring our vision to life.

Our LED light strips, along with our spotlights and creative light bar placement, allowed us to accomplish what we wanted for this musical.

In the end, we successfull.. a bold, daring rock concert experience for our musical this year.

Hey, I'm Axel and I'm Vivian, and we are the head costume designers for our school's production of The Addams Family musical.

Running and organizing costumes for such a large, specific show was a challenge in and of itself.

Sourcing the right materials, clothing pieces and accessories were some of the aspects taken into consideration and making the characters visually interesting on stage.

We also had the liberty of making each actor look and feel like the characters they were portraying in the show.

That doesn't come without its struggles.

We had to make sure every single actor had costumes that fit them correctly, were co.. to dance and sing without any conflicts.

To continue the picture of the ideal A.. we had to have direct communication with the people in hair and makeup.

And the people in set design to make sure none o.. or the style of actors hair clash with the costumes we put them in.

With that being said, we are very honored to have worked on something that we could both be proud of and grateful for getting to run our department as a team.

Thank you.

Hey, my name is Vincent Conrad, and I was part of the set design team for, Nevada high school drama's production of Footloose.

My partner is Ian Thomas.

He can't be here right now.

So this is what he looks like.

Are you, So basically, our job was to kind of plan the design of how we wanted the show to look.

And so we set on our main set piece being the bridge from the show, the tiny bridge, which is where the main plot event happens, which is, that three kids died, one after prom night and drinking and driving.

We added multiple different designs to it, like when we had support beams across the top.

We painted them, like a girder to kind of fit the theme of actual bridge.

And we had, like, the warning stripes on each side of the bridge.

And to add to that, because it's a very small town, a very old town, we had added graffiti to kind of show how the kids were feeling at that point in time.

Hello, we are Abby Harrison and Kaitlyn Knepper the sound designers for North Scott Lancer Productions production of Disney's Beauty and the Beast.

We each tackled a different part of sound design, but we both helped each other out a lot.

To create the sound effects for our show.

We found many individual sounds, and grouped them together.

For the invention, this meant four groups with m.. along with layers, loops, and integrated fades.

As for the wolf chasers, this utilized different output locations to coordinate with the wolf choreography and immerse the audience in the show.

This helped contribute realism to the important scenes.

The placement of microphones in the show proved to be a challenge, with several varying costumes, quick changes, and wigs.

We got pretty creative with where each mic got placed.

The other challenge was a contrast between the ensemble in lead voices.

The large music numbers dealt with several of the 21 mics being active, and it took a lot of practice to get all the individual lines in the opening n.. Plus we had some overlying melodies during some songs that needed to be heard, to creating the correct balance between leads and ensembles in addition to our live pit, it was always an adventure and I'm very proud of how it turned out.

Hi, my name is Atiana and I am Evelyn, and we were the outreach coordinators for Monty Python's Spamalot.

Our roles were to connect with the community and surrounding schools, promote our show.

We first met to plan.

Out what we wanted to do, which led us to partnering Five Borough Bagels, a local .. shop, with creating a specialty drink called the Holy Grail.

Then we did a bowling night fundraiser at Warrior Lanes and also partnered with Mickey's Irish Pub for a fundraising night.

We also did a team camp where they were able to learn fight choreography, and were eventually knighted and given a .. We contacted local celebrities to be our Sir not appearing to perform in our show.

We also finally went to our junior high to talk about tech with Spamalot.

We had such a fun time planning for su.. Outreach has taught us a lot about collaborating with local businesses and sch..

Thank you.

Hello, my name is Jonathan Ruth.

And my name is Lola Costello.

Together we are the sound designers and engineers for Valley High School's 2024 production of Rodgers and Hammerstein's Cinderella.

We really started with a blank slate for this production.

We began researching before the production and started formulating our documents.

This gave us a huge head start and allowed us to experiment even more during the actual production process.

Throughout our experiences as the designers, we were able to experiment and learn new techniques that had not been put into practice before.

We were also able to overcome challenges and hurdles that were thrown at us along the way.

One thing we experimented with was the placement of our microphones on actors.

We worked with two different microphones, one of which was an over the ear headset, and the other was a hair line, which was actually run through and attached to the actor's hair.

We did encounter a set of unique challenges, especially with our hairline mics, since a lot of our actors had very elaborate hairstyles that we had to work around.

Another great experience was working with our newly formed audio crew.

With the crew, we were able to experiment with different microphones in the pit, as well as new ways to combat radio issues with our wireless microphones.

All in all, we had a very successful production and design.

We were able to experiment with new ways of getting our job done, work with new .. members, and pass down knowledge to future years.

Hi, my name is Bella Sovern and I was in charge of hair and makeup for the Albia Community High Schoo.. production of Mary Poppins Junior.

Due to the casts smaller size, we had a lot of double casting, and one of my biggest challenges was to create seamless and fast makeup changes.

This is the makeup change from Mrs. Corey to an ensemble character.

That had to be done in less than five minutes.

Another one of my big roles was to create wigs, to not only distinguish characters from each other, but to remain historically accurate to the time period that the musical was set in.

Due to the big makeup and wig changes, I created a makeup plan that detailed every single character, all of their changes, and exactly what scene they had to change in.

Even with the technical difficulties of the show, I was really proud of the work that I was able to put on the stage, and I was really happy to work with this crew one last time.

Hello, my name is Max Ferguson.

I'm a senior at Waukee High School, and I was the head stage manager for our production of Monty Python's Spamalot.

As a stage manager, I believe that it was part of my job to know as much about the show as possible.

And what better way to do that than being involved as many crews as possible.

From hanging lights to fixing sewing machines.

If I ever had free time, I looked for a crew to help.

Being a stage manager also means that I'm there for the cast, recording chireo videos for them to review, giving them their block notes if they missed a rehearsal, and doing a call.

Before rehearsals started, I prepared documents that the assistant stage managers and I would use throughout the entire production process.

Documents such as rehearsal and production reports, and some spreadsheet that included attendance for cast crew and pit.

A copy of the master contact sheet, links to the script and the production folder, and an SM schedule.

Another thing I prepared was a set table.

With the help of one of the asms, we take out the entire set with spike tape.

Hi, I'm Ari and I'm a junior at DCG High School.

This spring, I was the head set designer for our school's production of The Addams Family.

As the head set designer, I drew and executed set pieces to set the scene and match the esthetics of the show.

With this, there were many challenges that I had to overcome, one of which was .. had to look like she was getting tortured in.

This had to be big.

And while I had the design and the processes I wanted to use, I didn't have the materials or skill to build it.

With some help, we got it done.

Painted and functioning by putting cuffs on chains that we strung through the back.

One of our crew members then pulled them to give the illusion that Wednesday was pulling a lever and making it happen.

We had to reuse our existing materials, so think outside the box on many projects such as the crypt.

I'm so glad I had the opportunity to work on this show and use my creativity to bring it to life.

Hello.

My name is Paisha Goodrich, and I was the student choreographer for Hoover's production of The Lightning Thief in April of 2024.

In the beginning, the idea of being choreographe.. as I had never choreographed before.

When I first heard choreography and I .. onto paper and watching other high schoolers version of The Lightning Thief and then practiced in my bedroom and sent my ideas to my director.

We then would both break d.. As the production went on, I grew more confident with teaching choreography as the actors started to pick up on the moves more.

Being a choreographer did present me with challenges like figuring out how to teach people who had never danced before, and also trying to choreograph while also being in the musical.

Thankfully, I quickly overcame these challenges.

The end result shocked me, and I was so proud of how far the production came.

Hi.

I am a Idaly Munoz and I was the student lighting designer for Waukee High School's production of Spamalot.

During this production, I worked closely with the technical director and director to create a light plot and make sure that each lighting cue helped to serve the mood and tone of each scene.

For this show, I chose to keep the dramatic lighting for.. and theatrical scenes to have more muted setting centered lighting for when scenes were closer to reality.

This really allowed me to play a lot with each cue.

Throughout this process, I was met with many challenges, but through hard work and the support of my amazing electrics ..

I was able to create a design that helped serve the story of the show.

Overall, this was an amazing experience.

And taught me more about the roles and responsibilities of a lighting designer.

Hello, I'm Collin Skaggs.

I'm Nevada high school's lighting designer.

I created most of my designs based off pictures of real life objects and places around the 80s time period.

One of my favorite pieces of work was the Somebody's Eyes Are Watching, shown on screen now, Somebody's Eyes beautifully demonstrates .. to immerse the audience in the scene, to realize how someone is always watching.

The other scene that I would like to mention that is a personal favorite of mine is the I need a hero scene.

During this scene, I used a self-created effect that produces a certain row of lights to go on and off at certain moments.

I used a purplish blue to let the butterflies in the background contrast with the colorful foreground to easily peer for the audience.

Footloose has been a great opportunity for me to expand on my knowledge of a lighting designer.

Special thanks to Alan, Frank, Ian, Vinny and Lucas for all the help I. I have loved hair and makeup since I was a little girl, so as soon as I found out about the need for a makeup artist, I jumped at the opportunity.

The Wizard of Oz is such a well-known production, and this was nice for ideas having a lot of material to work with.

However, this posed a challenge for me and the others on the execution team.

Due to the fact that everyone has seen The Wizard of Oz, we were held to extremely high standards.

Every person knows what a human or a lion is supposed to look like, but many of the other characters depend on the show.

We were challenged with keeping these characters true to their original production that we love, while still keeping it realistic for us.

One factor that you have to consider is that all of these big characters star in the beginning as normal people before turning into the fantasy characters.

So no matter what time we start, there will still be a fast change during the show.

This show received many compliments from audience members on makeup and helped me grow as an artist and.. Hi, my name is Sina Thomas and I led the hair and makeup creative design team for Clear Creek Amana's magical production of The Wizard of Oz.

We constructed all hair and makeup sketches and concepts for this iconic cast and..

The Wizard of Oz is a complicated show, so often we had to adapt to challenges such as finding an execution staff, creating extraordinary but realistic looks between costume changes and dealing with miscommunication, and merging ideas between us and the directors.

Many alterations were made during tech week as the show came together, truly showing our endurance and resilience.

As well as this, we created a sense of mutual understanding between the cast and crew by openly communicating the designs and expectations.

Understanding that the magic of a show does not come from perfection was key for learning to encourage flaws, because they strengthened our show and our skills.

While the Wizard was an incredible show, our hair and makeup designs will continue flourishing in future shows.

We had a lot of fun being house man.. Our goals were to make the environment safe, fun, and welcoming.

Waiting in ticket lines can be boring for the attendees, so we made a trivia form and activity sheets for the kids to do while they waited.

Our lobby was decorated using the materials we had and the audience loved it.

We have stained glass windows and a digital Ouija board available for the guests to do during intermission and after the show.

The programs were a big hit with the audience as well.

We also reviewed safety with our ushers, which came into play when we had to move the audience to a safe location during a tornado warning.

We have thoroughly enjoyed our time as marketing directors for the Dallas Center Grimes Theater department.

Our main goal as marketing directors was to sell as many tickets as possible, while promoting a positive experience.

One way we did this was by creating posters.

These posters were displayed around Dallas Center and Grimes, and we had some online versions as well.

Creating fun social media posts was another thing we did to promote the show.

In the end, we sold over 1300 tickets, which exceeded our goal of 1250 tickets.

Hi.

I'm Anna McKernan.

And together with the help of Ella Kleckner we choreographed Dallas Center Grimes' The Addams Family.

Our process this year first started with the creation of a vision board.

Our vision board helped organize creative ideas.

Overall tone of each number and piece, as well as organ..

This helped us immensely as we started choreographing and teaching each piece.

With this as a basis, we were able to incorporate various styles of dance.

This ranged from slow lyrical numbers such as The Moon in Me to upbeat ballroom with hints of flamenco dancing such as the tango .. You're also able to incorporate unique contemporary styles with the ancestors, especially to contribute to the spooky feeling of a show.

The Addams Family was a great musical to be able to experiment with so many different styles, while still being able to portray elements of the story to the a..

The types of movement we use.

We are so grateful for all the support we were shown throughout the process, and thank you for this recognition of our hard work.

Hello, I'm Addaley Snoberger, a junior at the Dallas Center Grimes High school.

I was the head designer of hair and makeup for the Dallas Center Grimes High School production of The Addams Family.

The hair and makeup crew and I were responsible for developing designs and executing them in production, while maintaining good communication, organization skills and a collaborative working environment.

Our crew had six team members, consisting of juniors and seniors with varying degrees of experience, and hair and makeup for our schools theater department.

We as a group were in charge of doing hair and makeup on about 30 cast members.

This included basic hair and makeup, but I also painted almost 20 cast members in face and body paint as the ancestors in the show.

We faced many challenges throughout our experience, but we problem solved and everything went very smoothly in the end.

Overall, we enjoyed this experience and responsibilities we were given during the show and hope t.. to be a part of our makeup crew and our schools theater productions.

Thank you.

During this year's production, Fiddler on the roof, our stage management program displayed excellence through their work.

They created many documents an ongoing doc with notes from every rehearsal, thorough notes for meetings with cultural educators, walking and run sheets detailing every scene change and q.. What makes our stage management program so good is communication.

We use headsets to relay information efficiently and effectively, and when things go wrong, we use specific language to communicate emergencies while maintaining confidentiality and safety.

From fly rails to spotlight to makeup and wigs.

Our team can do it all.

But this year they put a lot of effort into.. and running our department's TikTok with a total of 240,000 views from this show.

Hello.

We are the stage m.. production of Disney's Beauty and the Beast.

Hi, I'm Madi Brus.

I'm a sophomore.

I was rehearsal stage manager for .. and stage manager for our production.

Hi.

I ‘m Taylor Crain.

I'm a sophomore, and I was a rehearsal stage manager for the music.

And I was on stage crew.

Hi.

I'm Hannah Nelson.

I'm a sophomore.

I was the rehearsal stage manager for blocking, stage crew, and I worked rigging during the show.

One of our jobs during rehearsals was making sure that everything was communicated between the team, the actors and the director.

We did this through taking attendance sheets, monitoring and updating the calendars as needed, and managing a shared Google Drive.

At every rehearsal, we would write down any notes, blocking or choreography, as well as taking video so that everyone was on the same page.

Together, we worked as a trio to keep the show running smoothly.

From the first rehearsal to closing night.

Our goal for this show was to transport our viewers into the world of Beauty and the Beast by researching historically accurate architecture, paying attention to detail and endless dedica.. we were able to achieve this goal.

Some of our favorite accomplishments include painting our lobby to look like stained glass and creating a three dimensional village that included many Easter eggs about the show.

The stained glass allowed our audience to step directly into the 18th century France before the show even started.

And our village transformed our entire auditorium into the streets of France.

Another big achievement was our turning balcony.

We painted cobblestones up the walls and painted the balcony with golden teal to give the illusion of magic.

These walls can be seen throughout the set.

Our goal for marketing Disney's Beauty and the Beast was to use targeted marketing, showstopping visuals and business partnerships to ensure our entire community was involved and aware of our show.

We wanted to ensure that other audiences, such as families with children, knew about our show alongside our regular patrons, our advertising through on media targeted audiences with specific keywords and used market research and targeted deal points to get our a.. We also continued our past successful advertising campaigns.

Our business partnerships, literacy initiative and youth engagement are continued traditions of Lancer Productions marketing strategies.

This year, we were able to post a kid's party called Tea Time with Belle, where we were able to give out a free book to each student.

Overall, we are proud to say that our hard work led to four sold out shows, incredible positive PR for our program, and a truly magical experience for our patrons.

Hello, my name is Jaden Ladd and my name is Leif Horak-.. and this is our late design process for Rodgers and Hammerstein's .. Getting to work on this project was one of the more rewarding aspects of high school to us.

Of course, this production came with challenges, especially since we were some of our school's first student designers.

This included working with older lighting equipment with lamps that were constantly burnt out, and of course, a tornado on opening night.

Overall, we were very proud of our design, especial.. looks during the transformations and the opportunity to bring this show to life and teach people how to do all the electrician things has been an experience we will never forget.

And it is so nice to see it was all worth it.

We're excited to see these opportunities continue to evolve at Valley, and we hope our experience helped pave the way for future lighting designers.

Hi, my name is Mia Wychulis.

Throughout Valley's production of Cinderella, I worked closely with our technical directors Amanda Pickler and Darren Webb, as well as our overall director, Erin Westerman and my co designer, Faye Stevens.

This has been my second time helping with scenic design for a musical at Valley, and it has been an incredible opportunity.

I think the biggest challenge me and my crew faced this production was the color of our main set piece, The Castle.

We repainted it several times, but I think the final product is one that we should be extremely proud of.

One of the things I am most proud of is our use of turntables to eliminate the need for large set changes and simplify it into just turning a rotating platform.

My favorite set pieces to put together overall has to be our moving set pieces for the forest.

These included two bushes, a well, and a log.

Although these were also our most simple set pieces to put together.

Dramaturges are people that research any historical facts about a show.

Our dramaturg work for Anastasia began at our first read through with the cast and crew.

When we take our initial notes of possible topics or areas of research.

Then we take questions or research requests from the cast and crew heads.

For this particular show.

The crews that required the most access to our information were props, costumes, and makeup.

Another area of research was translations and pronunciation.

Since portions of the dialog were in French and Russian.

We also put together a Google Slides presentation on certain topics for everyone involved in the show to see, to put into perspective the time period of this production.

We used email and shared Google Drive with Google Docs to organize and share our research with the cast and crew.

We also hold weekly meetings with our crew and the directors to make sure that everyone is on the same page.

Hello, my name is Frank Engstrom, and I was in charge of the sound design for Nevada High School's production of Footloose The Musical.

While we faced many challenges throughout the production, I had an amazing time getting to program and create soundscape for the show.

To start it off we had 14 wireless body packs for 31 different people making swaps between scenes and even during scenes, I used a balance of compressors and a four band equalizer to control the highs and lows of each actor.

Each mic channel also had a hall reverb mixed in, which help fill out the vocals.

Perhaps one of my favorite parts of the production was creating the pit sound.

We had a piano, keyboard, electric drum set, off stage guitar, and an onstage guitar.

I also used three boundary mics on the bridge to pick up the ensemble, and three booms at the front of the stage too.

In total, there were also 14 different active monitors in the auditorium, providing unique sound mixes to those backstage and on stage.

I was very proud of being able to create a sound design that helped the actor shine and elevated our production.

Thank you.

Hi, my name is Ella Heithoff and I'm a sophomore at Coon Rapids-Bayard High School.

This year I choreographed our school's production of The Lightning Thief, The Percy Jackson Musical.

The first step I took to choreograph this musical was familiarizing myself with the upbeat rock and roll songs, which matched our students perfectly.

A key part to choreographing this musical was not only composing dances, but producing unique formations.

I tried to find creative ways to make our musical special.

As a student choreographer, an essential goal I had was to be very encouraging and open to my fellow students suggestions and ideas.

Even though I was faced with many challenges, I was able to conquer the issues and choreograph a great musical for my school.

Choreographing the Lightning Thief this year at Coon Rapids Bayard high school has taught me so much, but most importantly, it has helped me learn several important life lessons that will extend beyond my work as a choreographer.

I'm beyond thankful for this opportunity and would love to do it again.

Hi, I'm Caylie and I'm a junior at DCG High School.

I was the head stage manager for our school's production of The Addams Family.

Stage management works with all aspects of the production to help things run smoothly and problem solve along the way.

Because of how student led our program is, the team and I were able to organize rehearsals and performances how we best saw fit.

It was definitely a long process to get to where we were at the end of the season.

Since we had over 100 students working on this show, every little organizational detail helped to make everything more efficient.

Because it was such a large group, I had to figure out ways to best manage and make sure everyone's voices were heard.

This included managing the backstage run crew that dealt with our set.

It took lots of trial and error, but eventually we came up with the best ways to run each scene and communicate over headsets.

Overall, I loved getting the opportunity to be in this position.

Being able to have so much creative freedom and see people come together to make a great show was one of my favorite memories.

Hi, I'm Jonahs and I'm Miles.

For Mean Girls, our first step in designi.. multiple reviews of the script by both of us, and then taking cue notes for important scenes.

Next, we communicated our ideas with our director and implemented fog machines cyc lights for our pillars, and specials for Regina's bedroom.

After we had planned out the majority of our cues together, we got to work with programing our list of over 350 cues.

We utilized notes from rehearsals, and one of us would work during the school day to add and adjust anything before the next rehearsal.

As we began to finish up the bulk of our cues, our final step was adding effects and specials to all of the songs to make them pop and make those intense scenes with Ragina, truly intense.

We utilized projections to enhance the storytelling, harsh lighting, and the smoke machines for important moments or songs.

On top of that, we also put a lot of thought into the colors of the plastics and gave each of them their own color feature.

Overall, we are both incredibly happy with how the show turned out, and we both learned many new ways to design and program.