being played is right or not. In theater, there are many more dimensions to take into consideration, but also lots of helping eyes and ears outside of the performing ensemble. Menteer: It was like entering a completely different world from the one that we’re used to. By nature, the rock music world is much less focused and formal than the work we did at JAW. Time usage was more controlled. In a band practice one could play for ten minutes or three hours depending on the feel in the room, so it was always funny to me when we had to take mandatory breaks. Koch: The feedback is valuable, but showcasing unfinished work at that stage of development is really uncomfortable. Still, it was nice to get other people's eyes on the thing. It contributed to the feeling that it was going in a good direction, from blurry to focused. Usually when you play 28 performances, you’ve traveled thousands of miles in between. As you begin rehearsals, how are you feeling about being strapped to one stage for so long, while taking on an entirely different performance style? Van Pelt: A little apprehension, but mostly really ready to get some legs under this thing. Koch: I'm happy we can perform nightly without the long daily drives, but I do theater as well as music, so I'm comfortable on the move or stuck in one place. Menteer: Having the same circumstances for every performance is going to be interesting because we are so used to working under different conditions every night. Each venue has its quirks and we've
Alison Heryer Costume Designer Alison Heryer is a costume designer for theater, film and print. She is thrilled to be returning to Portland Center Stage at The Armory, after designing costumes for His Eye is on the Sparrow, The Oregon Trail, Ain’t Misbehavin’, Our Town, Three Days of Rain and Threesome. Other design credits include productions with Steppenwolf Theatre Company, 59E59 Theaters, La MaMa, The New Victory Theater, Kansas City Repertory Theatre, Indiana Repertory Theatre, Portland Opera, Artists Repertory Theatre and The Hypocrites. She has exhibited work at the Nelson Atkins Museum of Art, the Austin Museum of Modern Art, and Prague Quadrennial of Design and Space. Recent awards include the ArtsKC Inspiration Grant, the Austin Critics Table Award and a 2016 Drammy. Alison is an assistant professor of art practice in the School of Art + Design at Portland State University and a member of United Scenic Artists Local 829. alisonheryerdesign.com Daniel Meeker Lighting Designer Previously at The Armory: scenery for The People's Republic of Portland and Red (Drammy Award); lighting for Twist Your Dickens; and set and lighting for Vanya and Sonia and Masha and Spike, The Typographer’s Dream, LIZZIE (Drammy Award for Best Lighting), The Last Five Years and The Mountaintop. Current
projects: Big Night Out, Così fan tutte, The Difficulty of Crossing a Field and The Little Match Girl Passion for Portland Opera; The Talented Ones at Artists Repertory Theatre; The Language Archive for Portland Playhouse; Pinkalicious for Oregon Children’s Theatre; and 26 Hours for Profile Theatre. Recent credits: scenery for Women in Jeopardy at Pioneer Theatre Company; lighting for How I Learned What I Learned, and set and lighting for Peter and the Starcatcher at Portland Playhouse; set and lighting for The How and The Why for COHO Productions; scenery for Mothers and Sons at Artists Repertory Theatre; scenery for Eugene Onegin and L’Italiana in Algeri for Portland Opera; lighting for James and the Giant Peach for Oregon Children’s Theatre; and lighting director for the Pickathon Festival. Daniel is a graduate of Ithaca College and The Yale School of Drama, and a member of United Scenic Artists. Casi Pacilio Sound Designer Casi’s home base is The Armory, where recent credits include His Eye is on the Sparrow, The Oregon Trail, Little Shop of Horrors, A Streetcar Named Desire, Great Expectations, Ain’t Misbehavin’, Three Days of Rain, Cyrano; Other Desert Cities, Vanya and Sonia and Masha and Spike, A Small Fire and Chinglish with composer Jana Crenshaw; and ten seasons of JAW. National shows: Holcombe Waller's Surfacing and Wayfinders; Left Hand of Darkness, My Mind is Like an Open Meadow (Drammy Award, 2011), Something’s Got Ahold Of My Heart and PEP TALK for Hand2Mouth Theatre. Other credits include Squonk Opera’s Bigsmorgasbord-WunderWerk (Broadway, PS122, national and international tours); I Am My Own Wife, I Think I Like Girls (La