Sitar Arts Center is a youth theater company that services underpriveleged children and teenagers who live below the poverty line. Each summer, the company produces a full-size musical, directed by Lorraine Robinson, a Black woman with a Tony Award in Theater Education. 

I served as Costume Designer for their summer 2018 production of Seussical. There was a cast size of  51, including the actors between the ages of 7 and 18, the pit band, ushers, and stagehands, which I had to create costumes for. My team included an intern and I, and we worked Monday-Friday from May-August 2018 on-site in the costume shop, as well as served as wardrobe dressers backstage during performances.

My budget was $2,000. I constructed about half of the costumes, including ears for Horton, a tutu dress for Gertrude McFuzz, a crown and gown for Mayzie LaBird, as well as wings and tails for all ensemble creatures, just to name a few. In addition, I purchased another half of the costumes from speciality craft stores, online, and thrift stores. What I love most about children's theater is that there are no limits to color, texture, and sensory details, such as incorporating taste and smell into the costumes. I incorporated a range of fabrics, such as tulle, silk, feathers, crepe, velvet, and faux fur. 

ArtStream is an inclusive theater company, which means the theater provides aritstic opportunities for people with physial and intellectual disabilities. 

I served as Costume Designer for their April 2017 production of Lost in Monet. The actors were all people living with disabilities, and the ensemble was empowered to collaborate with a professional director, playwright, choreographer, and musical director to write and compose an original musical. 

While the ensemble and leaderhip team met for rehearsals two days per week between September 2016 and March 2017, I attended rehearsals as well. This helped me to build an initmate relationship with each actor, because some of them had special restrictions and needs, such as a need to wear certain colors, specific measurements, and ideal fabrics that would suit their disabilities. My favorite costume that I constructed was the Adam costume, inspired by a classical Adam & Eve painting. The director specified that she did not want any actor to appear "naked" onstage, so I used the illusion of leaves to create texture and story.

Arena Players is one of the oldest, continuosly producing African-American theater companies in the country, nestled in Baltimore. I served as a season-long costume designer/design assitant for the 2017-2018 season.

I served as Costume Designer for their July 2018 production of Ain't Misbehavin'. This is arguably the most successful production in Arena Players' history, based on article reviews, audience reception, and ticket sales, which is important because Ain't Misbehavin' is the only Black musical to ever be produced on Broadway. An additional method that Arena Players used to raise the bar was hiring a Black director, Devron Young, who is a member of the famous union, Society of Stage Directors and Choreographers.

There were 4 rotating actresses and 5 rotating actors. I built all of the ladies dresses and borrowed furs, with the assistance of resident costume designer Victoria Jackson, who sourced all of the ladies jewelry and hats. In addition, I borrowed the men's suits, crafted the satin lapel pins, and purchased shoes and vintage coats.

I was nominated for a BroadwayWorld Award in Best Costume Design for this production.

Ally Theater is a 3-year old emerging professional theater company that serves Baltimore and Washington, DC. The company's primary mission is to produce new plays be new, emerging playwrights who are minorities (women, LGBTQ, people of color, etc.)

I served as Costume Designer for their June 2018 production of #poolparty. The playwrights vision was to narrate a parallel between the history of a racist lawsuit of a public pool in 1950s Montgomery County, MD, to present day public pools in the Baltimore-DC area. 

For this production, I worked closely with the projections and set designers in order to maintain a cohesive color palette. 

Coppin State University has a semi-professional theater company, Coppin Rep Theater. During my Urban Arts Leadership fellowship through Greater Baltimore Cultural Alliance, I served as Costume Designer for Coppin's December 2017 production of Tell Pharoah.

This production had an ensemble of 13 actors, about half were Coppin students and about half were guest actors. All of the costumes were pulled from Coppin's costume stock or borrowed from WombWorks Theater's costume stock, while I also did alerations and craft projects like dyeing and distressing. My favorite creative aspect of this production was the chosen design aesthetic between Act 1 and Act 2. Act 1 was more of neutral sepia tones, like browns, coffees, and manilla tones whereas Act 2 was more of ankara/African prints and jewel tones.

I was nominated for a BroadwayWorld Award in Best Costume Design for this production.