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"One of the things I love about Ghost Dancer is the high stakes and the heightened emotions that all of the characters have. It makes the story feel mythic. When talking to the designers , we talked about trying to find ways to "heighten" or "elevate" what is basically a naturalistic world to match the heightened emotions of the action. I was also looking for moments in the script that would support the mythic elements. Additionally, there is a theme of dancing throughout the play, and since we have such an amazing choreographer and dancers, I wanted to utilize those elements as much as possible."

"I always have a blast working with Josh & Emileena and jumped at the opportunity to work with them again...especially on such a cool script.  Since I have a background in many forms of dance and my speciality being Latin, I was drawn toward the idea of combining different forms to create something new for this fictional, yet universal world witin the play.  Now that we've cast extremely talented dancers I'm eager to see what we can come up with together!"

I primary design lights, but only because build space in New York City is prime real estate, not because I don't enjoy it.  After working with Emileena for a number of years she has grown dependent on me for basically whatever labor she can squeeze out of me.  When she approached me about designing a set I had plenty of reservations.  The prospect of creating a slightly skewed reality to enhance the world of the play intrigued me.  Josh and I have had a number of discussions about how to make that world come to life.  Working with Peter has also allowed us to realize some cool ideas.

"The collaborative nature of The Show Goes On Productions draw me to this show, as well as the opportunity to work with Josh again. It's a refreshing project to be part of, when all of the creative team gets to collaborate so much on a production. Josh and I have spoken extensively about concept and the idea of creating a heightened reality for certain moments in the script. This allows us to mirror the emotions of the characters in a very exciting way that will help tell the story.  I'm looking forward to seeing how rehearsals further define the world of the play because there are some great opportunities in the script for some very interesting lighting."

"I was drawn to this project initially to work with Josh again and be part of an exciting and emerging new company.  But the script has really intrigued my imagination of creating dance costumes and defining a new, fictional yet universal culture through costume.  Recently I've been working primarily on film and I'm looking forward to getting back to theatre and building some very cool costumes for this show."

"Any sort of theatrical design is an interesting beast, and sound design is especially intriguing. The first step, for me, is to do a blind reading of the script. I say blind reading in that I try to read the script with no preconceived notions about the sound in the show.  During this reading I make a mental note of what I hear in my head, but I don't write anything down.  Then I go through the script again, reading it more closely and paying more attention to what I hear in my mind.  This time, I write it down and it forms a beginning chart of the sound for the show.  In an ideal world, then the director and I talk about what his or her approach to the show, and secondarily their thoughts on the sound.  From there, I read the script again, keeping in mind both what I initially responded to in the show and what the director is looking for.  At this point we have a springboard, a through-line narrative of the sound in the show and can add and take away as the process evolves. "

What was the production

process like?

Having worked together on Robert's musical, HONESTLY ABE, Emileena built a collborative working relationship with the writer.  GHOST DANCER is Robert's most prized script and he was eager to see it on its feet in a commercial NYC production.  Emileena had been kicking around plans to launch her company and the timing was right.  She pulled from her existing networks along with those from director Josh Kashinsky, (who directed HONESTLY ABE) to form a stellar team and set to work building a show!


What drew The Show Goes On to the script is the universal element to Robert's script.  The backdrop of this production is essential to really highlight the plight of a family caught between their obligation to morality and their own personal ethics.  The idea of building a world from scratch and incorporating all design aspects to form a uniform whole was a challenge that was right up the company's alley.  Everyone involved with GHOST DANCER has contibuted their own touch to populate this world.
Hear the team at work:

Joshua A. Kashinsky


Amy Klewitz


Duane Pagano

Scenic Designer

Peter Hoerburger

Lighting Designer

Candice Knox

Costume Designer

"I enjoy arts & crafts and working with Emileena so it was only natural that I should join the team for Ghost Dancer.  I've lived in the city a long time so I know where to scavenge for odd and random things.  I'm looking forward to creating a new world for this show, a departure from most of my time spent acting."

"Marketing for Show Goes On hinges on grassroots efforts.  We have a facebook page (are you a fan?) now and will soon have a Twitter.  With these platforms, we are then constructing a DIY human rights campaign to raise awareness, not only of the show, but of other countries whose people are under oppression.  Together we believe that we can "market" social justice and awareness, something that Robert's play speaks so well to.  After all...who doesn't want to change the world?"

Ien DeNio

Sound Designer

Charlotte Volage

Prop Designer

Sarah Kate O'Haver

Marketing Director

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