Position: Scenic Designer for Witch Hunt
The Scenic Designer is primarily responsible for designing all major visual scenic elements of the production, including set furnishings. The story takes place in Puritan New England and the scenic design will help bridge the distance between the audience and the 17th century. Our priority is to find someone who excels at creative collaboration. Design choices must be made to allow for fluid scene transitions within a small space and to create maximum dramatic impact from a limited number of scenic elements. Theater is a small black box with limited storage on site. For practical and aesthetic reasons, the set will be minimalist.
Job duties include: working with the director and the rest of the design team to create a cohesive aesthetic for the production; constructing or sourcing set pieces as necessary (may include some props) with support from other production team members; meeting all deadlines; and attending specified rehearsals, technical and dress rehearsals and production meetings.
Venue: La Val’s Subterranean Theatre, 1834 Euclid Ave, Berkeley.
Production Dates: Rehearsals for Witch Hunt begin June 2. Load in is Sunday, July 7; the show runs July 12 – August 4 with performances Fridays and Saturdays at 8 pm and Sundays at 2 pm. Strike will be directly after the matinee on Sunday, August 4.
Stipend: $575 – $800, DOE.
To apply: email ThoseWomenProductions@gmail.com with “Scenic Designer” in the subject line. Include a brief introduction and attach your resumé. Thanks!
More about the production:
Witch Hunt is a new drama by Carol S. Lashof that explores the origins of the Salem witch panic and compels us to consider the ties between that infamous era and our present moment in history. Directed by Elizabeth Vega, Witch Hunt tells the uniquely American story of Tituba, an enslaved Indigenous woman who was one of the first in the Salem community to be accused of witchcraft. As the panic in Salem grows, Tituba must figure out how to survive in a society that inherently distrusts her and refuses to believe her truth. Ultimately, she offers the first false confession, opening the floodgates to the fury that followed. Lashof’s new drama is timely in its representation of an American community riven by factionalism and nearly destroyed by its demonization of the people it has colonized. Once again, our society is confronted with questions about whose truth deserves to be heard, and once again more powerful figures can feel the ground shifting under their feet.