What is your favorite part of working on For Heaven’s Sake!? I love the play, and I love working with this company. We have a terrific production team, and the cast are a pleasure to work with. And working with Laura Pedersen has been a treat. For Heaven's Sake! is her baby, and she’s been generous with guidance in terms of what the play requires, and open-minded as a collaborator.
VHTD usually works on shows more than once. What is the biggest challenge of revisiting a work? It gives me a chance to revisit earlier choices with a new perspective, and make sure that my original design is still working to the benefit of the production. If it isn’t, I have the opportunity to make changes.
What drew you most to this production? The opportunity to work with director Ludovica Villar-Hauser. We talked for years about working together before we finally had the chance on the New York City production of For Heaven's Sake! and for me, it was absolutely worth the wait!
For Heaven’s Sake! is set in 1970s Buffalo. What challenges has that given you, in terms of design, development or dialect? As the show’s dialect designer and coach, it has raised the stakes for me. In the New York City production, I wanted to be sure that any Buffalonians in our audience felt their speech was well-represented and treated with respect. Now that we’re coming to Buffalo, where most of our audience will be from the area, that’s even more important to me—and, I feel sure, to the whole company.
We know that not every Buffalonian will sound exactly like our Kilgannons and Jablonskis, but we hope that our audiences will feel they recognize them as people they might easily know or meet around town.
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