Designing the Story: Meet the Artists Behind the Look and Feel of "The Ferryman"
Woven into the heart of the Twin Cities theatre hub, the Master of Fine Arts in Design & Technology explores artistic and technical challenges in scenic, costume, lighting, and sound design. Through collaborative classroom and hands-on production work, our students develop essential 21st-century skills in interpersonal communication and real-world problem-solving, giving them the versatility they need to excel in their work and in their lives.
Here are four incredible MFA Design & Technology students whose work on The Ferryman showcased their talent in scenic, costume, lighting, and sound design. Their time at UMTAD has been marked by bold creativity, deep collaboration, and a love for storytelling.
The Ferryman will be showing at the Park Square Theater downtown St. Paul from April 24-27, 2025.
I’m currently a third-year MFA Sound Design candidate. Over the past few years, I've had the privilege of designing sound for several UMTAD productions, including Troilus and Cressida, Fucking A, Describe the Night, Uncle Vanya, and Witch.
Beyond the university, I’ve had the opportunity to contribute my skills as a sound designer and engineer on various projects. Notably, I designed sound for Log Kya Kahenge at Lyric Arts in collaboration with Exposed Brick Theatre Co. and SAATH. I’ve also served as a sound engineer for multiple productions at the Capri Theatre.
As The Ferryman marks my final design project in graduate school. I’m incredibly grateful for the support and inspiration of my cohort members and collaborators. This program has been a transformative learning experience, and I am excited to continue building my design career in the Twin Cities after graduation.
Jacqulin is a multidisciplinary theatre artist originally from Ann Arbor, Michigan. She is currently pursuing an MFA in Design & Technology at the University of Minnesota, and she is set to graduate in May of 2025.
Her design work spans both lighting and scenic design. Recent credits include Witch (scenic and lighting designer), Fucking A (lighting designer), Roe (lighting designer), The Aliens (lighting designer), and Describe the Night (lighting designer) at the University of Minnesota; Cinderella (assistant lighting designer), NEXT Festival 2024 (lighting designer), and NEXT Festival 2023 – Love Them First (lighting designer) at Theater Latté Da; Kumbayah the Juneteenth Story (lighting designer) at The Capri; and Once (scenic designer) at Theatre L’Homme Dieu.
Jacqulin is committed to creating accessible theatre experiences and advocates for inclusive design practices and accessibility initiatives. With a strong background in both design and technical theatre, she strives to ensure that all voices are heard and celebrated in the creative process.
I am a 3rd Year MFA Graduate Scenic Design student. I have had the pleasure of working on a variety of projects during my time in school. I started off scenic designing Pride & Prejudice in 2023, designed and built a dance piece last spring entitled Soft Sediment, at the Goodale Theatre in the Cowles Center. This year I was given the opportunity to be a Scenic Artist on our Production of Witch while I also was scenic designing The Ferryman. Currently outside of my design work, I spend most days in the props shop creating specialty props for our shows, which is something I deeply love doing. Beyond the University, I have been able to freelance props design, scenic design, and be a scenic artist on multiple shows or projects throughout the Twin Cities.
Caroline (she/her) last worked as a costume designer for Señorita Mariposa at Stages Theatre Company and as an assistant to the costume designer and Draper for Cinderella at Theatre Latte Da. She also worked at Santa Fe Opera in New Mexico for three summers and did the costume designs for Pearl Fishers and Maria Stuarta apprentice scenes. She works as a teaching artist at Roseville Area High School and as a technician for many theaters in town. She is thrilled to be part of the creative team for The Ferryman and to collaborate with her former peers.
What initially drew you to UMTAD for your graduate studies in Design & Technology?
I had toured several programs around the country for grad programs. There were some incredible options, but I really appreciated how this program focused on its students to create the best possible outcome for us as individuals. If we had a specific class or new skill we wanted to learn, it was encouraged by both faculty and staff. We have such a wealth of knowledge here from our professors and mentors to our cohort members. For me personally, our Sound Supervisor, Montana Johnson, being a female identified person in a position of power was a big deal. Every other college I talked to had one or two male identified supervisors. It was just something that helped me feel seen. Women in audio still only make up less than 15% of the whole and the numbers keep going down the higher up in the field you go. So, it was empowering to join a program that had a strong female co-leader.
What has been the most rewarding part of studying at UMTAD?
Truly, the most rewarding part has been collaborating with my cohort members. It has been where I have grown the most and made a big impact on my skills as a designer. We spend so much time together and we get to learn from each other during all these amazing productions.
What advice would you give to incoming graduate students about making the most of their time in the program?
If you want something, you have to take the initiative. If there is a certain goal or skillset you want, then it is up to you to make it happen. One amazon thing about this program is the hands-on experience we gain from working in the shops everyday. If you are lacking in certain skills in your training, we have amazing staff that can help you build from where you are coming in.
How do you see the future of theatre design and technology evolving, and where do you see yourself within that landscape?
I am hopeful we will keep telling real stories. We look at the news everyday and see the world around us seems to be falling apart. Sometimes telling these stories, whether they are light and happy or heavy and somber, they are showing truth in their messages. I believe art and life are parallel to each other. We are going to create art that relates to the now and ask bigger questions. We are already making strides in presenting new work from voices which have been suppressed for so long. I want to keep making art that tells people's stories and experiences. Being part of these stories, even as someone in the background, can bring huge impacts to those who watch the shows and are then inspired to make their own art.
What’s your tech-week snack or ritual?
Mostly just a lot of caffeine. It is the only way to really get through the tech process sometimes.
How did you use sound and choice of music to help build tension throughout the production?
A lot of this script had music written in specifically so having that information initially allowed for us to know more about what these characters are listening to and what influences are coming into the home. A lot of my initial research came from specifically Celtic and Irish folk music. However, I was also looking up music during the times of the Irish Troubles from both sides. It was a strategic choice because I was basing that on the playwright being an Englishman. Jez Butterworth’s background was important to me because his perspective could be seen as controversial. The basis for tension in this world is surrounding the Troubles, but it also is surrounding internal family conflicts and where your morals live in time of war. This is the greater question we see the characters asking themselves throughout the play and I wanted my research to reflect those conflicting emotions as well.
What initially drew you to UMTAD for your graduate studies in Design & Technology?
I was initially drawn to UMTAD because of its rich history as a scenography program, which perfectly aligned with my interest in being a multidisciplinary artist. Additionally, the vibrant theatre community in the Twin Cities was a major draw. The opportunity to immerse myself in such a diverse and dynamic artistic environment, collaborating on a wide range of productions, was incredibly appealing. I also appreciate how UMTAD fosters a collaborative atmosphere, encouraging students to learn from one another and work together—an essential aspect of theatre-making.
What has been the most rewarding part of studying at UMTAD?
The most rewarding part of studying at UMTAD has been my position as a teaching assistant in the light lab. This role has provided me with invaluable hands-on experience, allowing me to learn on the job while supporting students in their own development. I’ve had the chance to deepen my understanding of lighting design in a practical setting, troubleshooting challenges and honing my technical skills. Additionally, mentoring undergraduates has been incredibly rewarding. It’s given me the opportunity to guide others while also learning from their fresh perspectives. This combination of learning and teaching has been an essential part of my growth as a designer and educator, and it has strengthened my collaborative and leadership abilities within the program.
What advice would you give to incoming graduate students about making the most of their time in the program?
My advice would be to stay curious and embrace every opportunity that comes your way. Graduate school is a time to experiment, take risks, and push boundaries, so don’t be afraid to step out of your comfort zone. Also, build strong relationships with your peers and faculty. Theatre is a collaborative art form, and the connections you make here will help you throughout your career. Lastly, take time for self-care. It’s easy to get overwhelmed, so make sure you’re giving yourself space to recharge.
How do you see the future of theatre design and technology evolving, and where do you see yourself within that landscape?
I see the future of theatre design and technology becoming more integrated with digital media and interactive technologies. As audiences increasingly expect immersive and dynamic experiences, designers will need to adapt and incorporate new tools to create innovative productions. I see myself continuing to advocate for accessible and inclusive design practices, ensuring that technology in theatre enhances the audience experience for everyone, regardless of ability. I’m excited to contribute to this evolution, particularly in areas where accessibility and technology intersect.
What’s your tech-week snack or ritual?
Dark chocolate & almond granola bars. They're quick and easy, something I can grab between cues to keep my energy up. As for my tech-week ritual, it's less of a ritual and more of a bad habit. I always find myself staying up way too late after getting home from tech, trying to reclaim some of the free time I lost during the day. It’s not the healthiest habit, but it’s become a part of the whirlwind of tech week!
The Ferryman shifts from warm, intimate lighting to stark, dramatic moments. What were some key lighting choices that helped tell the story?
In The Ferryman, the lighting will reflect both the passage of time and the emotional shifts within each act, while highlighting the increasing tension and external dangers that gradually infiltrate the home.
For Act 1, set in the early morning, light amber and gold tones will create a calm, intimate atmosphere, mirroring the peaceful routine of the family. The soft, natural light of dawn will establish a sense of safety and normalcy in the home. However, as the act progresses, subtle shifts in the light will begin to hint at the external forces that are quietly invading the family’s sanctuary.
In Act 2, as the play transitions to sunset, the lighting will deepen with rich oranges, reds, and purples to represent the emotional complexity of the setting sun. The fading light will symbolize the closing of one chapter and the approach of danger. Initially, the warmth of the sunset will provide contrast to the growing tension, but as the act unfolds, the light will shift, and deepening shadows will creep into the home, reflecting the growing uncertainty and the dangers slipping through the cracks. What was once a distant external threat now begins to challenge the characters’ sense of security.
For Act 3, set in the dead of night, the lighting will become stark, using cold blues and harsh shadows to reflect the isolation and foreboding of the night. The home, once a safe haven, will be lit by sharp contrasts. This heightened sense of danger will be amplified by long shadows across the set, emphasizing that the outside world has fully entered the space, looming over the characters as the tension reaches its climax.
What initially drew you to UMTAD for your graduate studies in Design & Technology?
What drew me to this program was the amazing work I had seen through UMTAD’s website & social media. I was also interested in the time and care UMN takes in developing a show. It’s a longer process than normal, but it really allows for exploration and collaboration when creating a design.
What has been the most rewarding part of studying at UMTAD?
The most rewarding part of this program to me is the relationships I have built with my mentors and fellow collaborators. The faculty and staff of this department are filled with the kindest and most knowledgeable people I have ever had the pleasure of working with. Their support made my time here so enjoyable and worthwhile. I was able to create things I never would have been able to without their guidance and encouragement.
What advice would you give to incoming graduate students about making the most of their time in the program?
I would offer that an incoming student should really determine what they want to get out of this program. Recognize what their weaknesses are and where they would like to be in three years. I recommend having open conversations with your mentors about where you want to push yourself, and to always put care into what you're doing.
How do you see the future of theatre design and technology evolving, and where do you see yourself within that landscape?
Theatre design and technology will continue to be elevated with the creation of new tech and new stories with particular needs. This will most likely create new challenges and give new opportunities to create a scenic environment. I see myself doing as I have always done, trying to find a meaningful and interesting frame to have the world of our story live in.
What’s your tech-week snack or ritual?
I love to have some grapes and chocolate covered almonds!
The Ferryman blends intimate family moments with intense political tension. How did you balance these different moods through scenic choices?
I wanted the prologue to feel more in tune with the political tension, showing numerous real graffiti references during this time. I chose to add a lot of graffiti so the characters could feel surrounded, overwhelmed, and pressured.
As for the Carney family home, I wanted the home to have a warm, colorful, and inviting feeling. I enjoyed the idea that this home has gone through many color renovations due to the creative spirits of the family. I also wanted it to have a family oriented props design, filling up the walls and set with things the children have made, pictures of them, etc.
On top of this as well, I designed the set to have aspects of the outside world creep into this warm and comfortable setting. This is hoped to be achieved through lighting collaboration, in which light is able to come through parts of the set to give an other worldly sense of looming danger.
What initially drew you to UMTAD for your graduate studies in Design & Technology?
I was interested in UMTAD because it focuses on both Design & Technology. My undergraduate degree was in Fashion Design, and later, I worked on TV, so although I had experience constructing clothes and costume design to some extent, I was fairly new to designing and building for theater. The opportunity to work in the costume shop and build for many shows while also being in the shop as a designer helped me get better as a designer and as a technician because it allowed me to build a vocabulary to work with both.
What has been the most rewarding part of studying at UMTAD?
There were many things; collaborating with my peers and having time to discuss the shows really helped me find my voice as a designer. Since we have a longer design period we have more time to have meetings discussing the text and world building. Also, working in the shop and teaching undergrads opened my eyes to being an educator. I enjoyed helping new designers and technicians to feel confident in their abilities and improve.
What advice would you give to incoming graduate students about making the most of their time in the program?
Find out what you want from the program and talk to your mentor about classes you're interested in. Also, building a good relationship with your peers, grad school is not easy, but it was very rewarding, and the grad students always come together to help each other. People who are your peers today at school are going to be your collaborators later in your career, so maintaining a good relationship is always better.
How do you see the future of theatre design and technology evolving, and where do you see yourself within that landscape?
Theater, like many storytelling media, is always evolving to connect with people. I started designing to tell stories through clothes, and I hope I can keep doing that in the future. I also would like to keep helping young designers and technicians to find their voice in their art. I think that more than ever, people need hope, and art has always been a part of giving people that, so it is as important as ever to have young people still interested in art.
What’s your tech-week snack or ritual?
Fruit snacks are my favorite, and I think a ritual is listening to songs I like before tech, just to get in the right mindset.
The Ferryman has a huge cast with characters spanning multiple generations. How did you approach designing costumes that reflect their personalities, social status, and the setting?
Each character has a specific personality, and it was fun to dive in and try to think like them. When designing, I like to put myself in the characters' shoes and figure out how they would express themselves through clothes. How are they doing mentally? Physically? Are they trying to tell us anything? Or hide something? What social class does the character belong to? I also like to collaborate with actors and keep an open conversation, I am always open to hearing ideas and concerns. The most important part to me is that the costumes are helping to tell the story and not get in the way. The biggest challenge was the age gap between all the characters. I used Silhouette, wigs, and accessories to help with aging characters up and down.
