Director  |  Rosemary Hay

Stage Manager  |  Asher Vaglica

Movement Coach  |  Riley Mehrtens

Intimacy Director  |  Zoe Nebraska Feldman

Set Designer  |  Meghan Jones

Assistant Set Designer  |  Alice Poznyak

Prop Head  |  Kelly Lin Hayes (me!)

Assistant Prop Head  |  Naia Morgan

Lighting Coordinator  |  Ash Marlar

Programmer  |  Sydney Taper

Costume Coordinator  |  Kalyn Paradis

Sound Designer  |  Damien Figueras

Assistant Sound Designer/A1  |  Ethan Paone

Production Electrician  |  Troy Martin-O’Shia

Technical Director  |  Joe Fasciano

Costume Shop Manager  |  Anna Sorrentino

Wardrobe Supervisor  |  V Perlah-Hard

Scenic Artist  |  Holly Fasciano

Image Designer  |  Anna Ryabova

Photos by Paola Nogueras

Co-Director | Dan Kitrosser

Co-Director/Co-Choreographer  |  Jacob Brent

Co-Choreographer | Amanda DeSouza

Stage Manager  |  Kel Flemming

Set Designer  |  Meghan Jones

Assistant Set Designer  |  Alice Poznyak

Prop Head  |  Kelly Lin Hayes (me!)

Assistant Prop Head  |  Naia Morgan

Lighting Coordinator  |  Josh Schulman

Programmer  |  Ash Marlar

Costume Coordinator  |  Allison Neiheiser

Sound Designer  |  Damien Figueras

Assistant Sound Designer/A1  |  Ethan Paone

Production Electrician  |  Troy Martin-O’Shia

Technical Director  |  Joe Fasciano

Costume Shop Manager  |  Anna Sorrentino

Wardrobe Supervisor  |  V Perlah-Hard

Scenic Artist  |  Holly Fasciano

Image Designer  |  Anna Ryabova

Photos by Paola Nogueras

Joe Britt-Simpson | Writer

Andrew Bealhe | Director

Jessica Beaver | Stage Manager

Brandon Searle | Assistant Stage Manager

Marjorie Kalule | Assistant Stage Manager

Nick Embree | Set

Kelly Hayes | Props

Tydell Williams | Lighting Designer

V Perlah | HardProgrammer

Anna Sorrentino | Costume Designer

Ava Weitzweig | Sound Designer

Troy Martin-O'Shia | Production Electrician

Joe Fasciano | Technical Director

Anna Sorrentino | Costume Shop Manager

MK Prophett | Director

Finn Powers | Assistant Director

Tom Fosnocht | Music Director

Adrianna Lombardi | Stage Manager

Cate Goddard | Assistant Stage Manager

Aidan Yates | Assistant Stage Manager

Aubrey Gleason | Assistant Stage Manager

E Quinn | Dramaturg

Zoe Feldman | Intimacy Coordinator

Meghan Jones | Set Designer

Lily Castiglione | Assistant Set Designer

Kelly Hayes | Props

Anna Ryabova | Technical Director

Harbour Edney | Lighting Designer

Theo Lemons | Programmer

Allison Neiheiser | Costume Designer

Michael Kiley | Sound Designer

Ethan Paone | Assistant Sound Designer

Taj Rauch | Projection Designer

Troy Martin-O'Shia | Production Electrician

Joe Fasciano | Technical Director

Anna Sorrentino | Costume Shop Manager

Playwright- Alexis Elisa Macedo

Director- Autumn Angelettie

Projections- Dominic Grijalva

Environmental Design/illustration- Kelly Lin Hayes

Cadence Nabors- Stage Manager

Chicana Legend is a show that has a lot of design based in Game Design and Illustration. I worked closely with projections (Dom!) to create custom animations, logos, environments and even items and outfits for the actors to interact with during the show!

December 2021- Pulley and Buttonhole Theatre Company

Written by Briandaniel Ogelsby

The Show

“Seven short plays about transformation are knitted together by a ring that's passed from a major character to a minor character. You can begin this play on any piece and eventually you will return to it. After a lonely woodcarver makes a puppet, who then carves more puppets to deal with her loneliness. An old woman encounters a rose that offers infinite life and instant death. An artist is shipwrecked on a magic island with his greatest foe. A young girl deals with the grief of losing her parents by hunting death. An apothecary deals with three obnoxious sorcerers. Forbidden lovers meet on an icy bridge, and one is taken by a waterfall spirit and turned to stone”

The Tech

A super energetic and lively show required moments of magic and energy. While the show was edited after recording, we were able to work with the actors to use many various techniques with zoom. Tiling, video, changing backgrounds over time, were all narrative storytelling techniques that were implemented for this show.

I also did the sound design.

October 2021- Pulley and Buttonhole Theatre Company

Written by Rachel Lynett

The Show

This funny, poignant play deals with the aftermath of a shooting at a lesbian bar. As an act of resistance, Mia opens up the bar the next night. Together with bartender Rory, Rory's girlfriend Leslie, and a student named Sara they unpack what it means to queer today, the battles we're still fighting, and where to find joy.

The Tech

While this show was very sparce we wanted to keep the backgrounds simple by still conveying movement. Using zoom’s new “video as a background” feature, I created a video with a moveable night sky and added police lights into the second act background.

I also did sound design

Get Tickets Here! December 2021!!

https://www.eventbrite.com/e/bao-z-baozi-baozi-by-kelly-lin-hayes-tickets-167310396901

Bao-z, Baozi, 包子 (Bāozi)

Written and Designed by Kelly Lin Hayes

Show

Bao-z, Baozi, 包子 (Bāozi), a radio play, by Kelly Lin Hayes!

Bao is about 3 immigrant college students. One is a transracial adoptee, one is a 1st-generation immigrant, and one is an international student. Bao is what happens when all three are under one roof, and how dysphoria can both separate and unite them.

The Tech

This is a radio show. The sound design is focused in Foley. The art of creating sound. Specifically food foley. A lot of the recipes in the show are made and the audience gets to hear every bit of it being created.

February 2021- Pulley and Buttonhole Theatre Company

Written by Sharai Bohannon

Show

A brilliant comedy about working in an opera call center. Why are you Like this explores the many frustrating days and calls that happen between co-workers.

The Tech

In this show we designed the backgrounds of the characters to meld together. The monotonous nature of the job leant itself to a purgatory vibe. When the characters would go into their own worlds for a phone call, they would bring up OBS overlays and it would look almost as if we were looking through their computer screens at them.

La MaMa Theatre Company Designfest Competition: Honorable Mention: Scenic Design

The case for Zoom Theatre

For the past several months the outlook on zoom theatre has not been good. It mostly consists of actors reading scripts from across the theatre. What we fail to consider is the actual possibilities technology affords us. How can we continue to remain in lockdown for several more months. How can we remain motivated and hopeful? Art is giving people inspiration and comfort. It has always been its role. Its time for reinvention and innovation in the field of zoom theatre. If we don't have access to lights, to sound equipment, to rigging, we outsource. We find something else to replace that. That is where the technology comes in.

What are the possibilities?

The possibilities for zoom theatre are as endless as the mind wishes. The cool thing about zoom theatre is that there is less time focused on actual building of set pieces and more focus on how to deliver the stories in a more multimedia way. Instead of creating a set for the actors to fight in, how else may we portray the act of fighting. Zoom theatre forces creativity and forces us to think in was we haven’t thought before. And that is what is so enticing about the form. IT could be used to help immerse someone into the show, or it could be used as a background set piece and not even be given a second thought.

Another World to Explore.

What is so exciting about the DND world of she kills monsters is the abstract that we can pull the set design into. The set not only becomes a reflection of the DND world Agnes and Chuck grab from Tillys journal, but it gives the opportunity to truly reach beyond the creative bounds of what Zoom and its accompanying technology is capable of.

Getting over the boundary of the screen

One of the hardest parts for an audience is getting over the boundary of the screen. Its because they haven't been exposed to the true potential of zoom theatre. I think what could be really interesting is the ability to show people and even regular theatre goers what the potential is for this medium, beyond just the preconceived judgements.

Chaos vs the Calm.

In the script a lot of the action is cut with Agne’s life. Her discussions with her friend VEra and her Boyfriend Miles. We follow her through these almost mundane conversations and then are thrown right back into the thick of things with the DND action scenes. The backgrounds reflect this. While the DND scenes get animations, videos, pixel art and more. The bedroom scenes only utilize the bedroom backgrounds and the pixel art.

Night Witches

Night Witches is my first show i did with Pulley and Buttonhole, a theatre company based in Jenkintown, PA. Night witches is a show about Russian WW2 pilots who were named the night witches. The show was digital.

Mad Ones Lab

In October I was invited to a lab that was developed by the creators of “The Mad Ones” Kait Kerrigan and Brian Lowdermilk. I was incredibly humbled to work alongside these legends. The show was split into sections, and groups were assigned those sections. I was responsible for sections 8 and 9. Below are the explanations for each section. Please follow this website to “The Mad Ones Engine. This is digital theatre.

The Mad Ones Engine: https://engine.themadonesmusical.com/#/

This is my first show that I’ve designed that was ever put on! And it was a Zoom show!

Director: Nancy Merlin

Stage Manager: Onastasia Ebright

Actors: Rolls Andre, Tony Torn

Animation/Set Design/Poster Design: Me!

You may recognize the title from a few entries back. Due to COVID we decided to mount the production to zoom. Using Animation and creative methods we were able to keep the Dumb waiter and even animate it to deliver the items needed to Ben and Gus. I got to explore animation and ManyCam, a software that let me play media over zoom. With adobe programs I was able to create video packages, with sound to represent this silent third character. It was an absolute pleasure to adapt this work, Theatre is not dead.

If you would like the full production please send me an email at

kellyannelinhayes01@gmail.com

I worked at the Arden as an intern for both their prop department and technical design department. I worked on both “Tiny Beautiful Things” and “Snow Queen.”

The Dumb Waiter is a one act show with two actors. It is about two spies waiting for word on a new job, that ends in a twist. The entire show is in one location, very vague, which leads to its sense of the unknown and uneasiness. The entire set has been offset to the right, except for one door. The space creates a “nowhere-zone” a type of purgatory, that adds to the unknown of the show, leading to a sense of unease from the audience.

This Independent study is based around Set Design.

I have always been interested in how stories are told. And the way that a set designer weaves a set around a narrative echoes the fast pace and work ethic of architecture.

The project is based on immersion of the audience. I was able to talk to several composers in New York and they gave me their shows to design. 

The way I'm approaching these narratives is by creating a collection of different narrative solutions, which i will pick from to set design each narrative. The collection was created because of the different skill sets needed for the project. This approach was derived from an architect's through and disciplined technique.

This is a work in progress

Writers: Benj Pasek and Justin Paul

Contact: Colton Ryan (standby evan/connor/jared)

Dear Evan Hansen was always meant to be the first musical I looked at. Not only did it have a full script release, but all of its songs were also released, and on top of that, I was very familiar with the material. This made it a good control show.

Concept: My concept of set is not to out metaphor the original but to create a more immersive experience. The Internet is not linear and neither is Dear Evan Hansen.

It is an all encompassing ride of sadness, loneliness, hope, and mourning. This set not only brings the audience in while simultaneously throwing them into Evans mental experience. It also brings them in for the moments of heartbreak and resolve. It is overwhelming and overpowering in the moments it needs to be, making the moments of quietness and reflection all the more powerful.

Writer: Masi Asare

Contact: Masi Asare

This musical opens with Kara attending a work friend’s party. Kara is bi-racial and doesn’t look to hard at issues of social justice, until a co-worker makes a race joke that makes Kara uncomfortable. She meets Damian who questions why she doesn’t laugh along but also why she doesn’t stand up to any of the jokes. She then goes on a self discovery journey, within the party.

Something unique to this musical is the study of the five senses. How can we design a set that includes mixing together people, ensuring that we pay attention to every detail of how they are feeling, interacting etc. With studying the senses people use to interact with others and the objects around them.

Similar to the Broadway show “Company”, the characters come and go. Walking around casually in their spaces. Maybe the space is started as a dinner party introducing a new app. But it offers a new setting that the audience can experience for themselves.

One of the defining features is this transition of interior of a brownstone to a protest hall. I think that the prop elevators may come in handy. Pulling down the furniture until gradually the setting becomes empty so that when people filter around the audience and start to speak only us, Kara and Damian seem to realize them surrounding us.

If you wish to see the full book please email me and i would be happy to send you the full process book

Writers: Drew Gasparini and Alex Brightman

Contact: Drew Gasparini

Our main character Craig has just checked himself into a mental hospital. However, thinking he can just walk in and walk out, he tries to leave. However the hospital requires him to stay instead. The show is about Craig’s journey to fully understand his anxiety and make friends who remind him that he’s not alone in his struggles.

This set is entirely Craig’s perspective. So i think the set would represent his mental state. In the beginning the hospital wing looks blank and sterile, like a typical hospital. But as he goes to each room, and has an experience with others in those rooms his mind subconsciously fills in these blanks. By the end of the show Craig’s life is filled with a new understanding family, and new friends. I think the architecture in his head should also represent this.

One of the things that make this musical so intimate is the voice of the narrator. We have a small contained story from Craig. We follow his journey specifically. Having the entire stage become his mind is an intimate look into who he is as a character. His surroundings get more familiar and cozy as he spends more time there. Much like the audience we join him in his experience but we also follow his interaction with the space.

If you wish to see the full book please email me and i would be happy to send you the full process book

Writers: Timothy Huang

Contact: Timothy Huang

The main story we follow is Peter and his search to reclaim his husbands body in Japan, with help from his guide Tomoko.

Meanwhile another seemingly unrelated story is happening. Wamura and Kano 100 years earlier and their conquest to build a wall to protect their home from the floods the rainy season brings.

Other minor plotlines range from Kitsune and the Kappa story as well as Tomoko and Peter/Jim’s backgrounds and flashbacks.

The stories influence is from Japan. The set is based on Kamashibai, a popular paper puppet theatre in 1930’s Japan. Kamashibai is seen when the set opens up for Wamura’s storyline and shadow puppets are used for Kitsune and the Kappa. The transition of the small puppet theater’s opening inspired the lifting of the mountain to reveal Wamura’s scenes.

One of the most difficult parts of designing the set was separating the many different storylines. The different sets include Wamura’s

storyline, Peter’s storyline, Kitsune and the Kappa storyline, and the flashback scenes that Peter has with his husband, Jim. Peter’s storyline stays away from the mountain until the end when he finds himself in Fudai. Wamura’s Story is revealed to be inside the mountain. And Kitsune and the Kappa’s story is told in shadow puppetry on the mountain.

The most interesting thing about the set is that it has a realistic mountain where a majority of the

cast spend their time in the second half. It also opens up, reminiscent to the Kamashibai puppet theatre. This is where most Wamura’s sets come from. Rooted in the location of Japan makes most sense for this set to be within or coming out of the mountain. The mountain represents Fudai and is the center of every storyline, therefore it is always on stage and is the most present stage element of the entire show.