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B O B K O H L E R

Master of Theatre Studies in Production and Design Southern Oregon University / Ashland Center for Theatre Studies


Robert Kohler

 

Literary Analysis 1, Year 1

Robert  Kohler  

Masters of Theatre Studies

 

 

Production  Analysis  1  

27 April 2011 Shattering Choices “Master Harold”…and the boys is a play about shattering the innocence of youth and standing face to face with the harsh and sometimes violent choices of the adult world. Each of the three characters, but Hally especially is forced to address the ugliness of humanity, more specifically, the ugliness in himself. It is in this facing that he then must choose what action to take: what kind of adult man he will be. When Hally discovers from Sam that his mom has phoned, he chooses not to believe that his father, whom he despises, will be coming home from the hospital. That Hally is clearly bothered by this is made real when he is forced to talk to his father on the phone in an emotional and stressful conversation, leaving him bitter and bruised. After a strained conversation in which Sam reprimands Hally for disrespecting his father and telling a racists joke, Hally spits in Sam’s face, forever shattering the relationship between the two. Hally has chosen to respond in the same way as his father and thus begins his adult manhood. The main plot line following Hally is supported with each of the other character’s stories. Willy struggles at ballroom dancing, where metaphors for getting along in

Literary Analysis, 2011.

personal and political relationships exist on the dance floor of a competition. Arguments and conflicts are examples of ‘bumping into’ each other. Through persistence, he can learn to get the steps right and live out a perfect dream like existence. It only takes

8  July  2012      

Animal  Crackers:  A  Band  of  Brothers  

Animal  Crackers  is  a  play  about  upending  norms  and  mores  of  high  society.  

The  lead  characters  make  mayhem  out  of  manners  as  they  crash  this  party,  conning,   impersonating  and  stealing  their  way  into  the  audiences  hearts.  Fame  and  fortune  

are  both  sought  after  and  at  stake  for  the  characters  in  this  social  satire.  Spaulding   cons  Mrs.  Rittenhouse  that  he  is  a  celebrity  captain  and  explorer  of  Africa.  Mrs.  

Whitehead  and  her  sister,  Grace,  try  to  pass  off  one  fake  of  a  painting  by  Beauregard  

entitled  “After  the  Hunt,”  while  Mary  Stewart  and  John  Parker  try  to  pass  off  another   fake  of  the  same  famous  painting.  Throw  in  the  ex-­‐convicts  Ravelli,  the  Professor  

and  Roscoe  Chandler,  a.k.a.  Abie  Kabibble,  and  you  have  rounded  out  the  cast  in  this   1928  Marx  Brothers  comedy  of  trickery,  mayhem  and  slight  of  hand.  In  the  end,  

society  may  be  high,  but  far  from  polite  as  Animal  Crackers  parodies  and  celebrates   the  four  Brothers  Marx.    

One  theme  of  the  play  is  the  extravagance  and  abuse  of  wealth  by  those  in  

high  society,  as  best  exemplified  by  the  viewing  of  the  priceless  painting  and  the  

staging  of  a  French  pageant.    The  painting  seems  to  be  nothing  special,  and  might  

even  ‘have  a  dog  missing’  but  the  exhibiting  of  this  piece  of  art  is  the  first  focus  of  

Production Analysis, 2012.

Mrs.  Rittenhouse’s  gathering.    The  fact  that  rich  people  have  too  much  time  and  

money  on  their  hands  is  poked  at  during  the  French  pageant.  When  everyone  is   gassed,  a  dream  in  which  everyone  assumes  the  identities  of  their  respective  

 

 


Dramatic

Bob  Kohler  

Directorial  Analysis   15  February  2013      

Analysis

Blood  will  have  blood.  

The  Tragedy  of  Macbeth  by  William  Shakespeare  is  a  play  about  murdering  to  

gain  and  hold  power.  Macbeth  himself  is  an  ambitious  man  who  is  seduced  into  evil   deeds  by  the  thought  of  becoming  king.  The  witchcraft  of  the  Weird  Sisters  tempts  

him      and  the  greedy  Lady  Macbeth  pushes  him  to  the  breaking  point;  he  chooses   to  kill  whomever  it  takes  to  gain  and  keep  the  throne.  With  no  turning  back,  

Macbeth  murders  his  way  through  this  play  covering  up  deeds  already  committed  

1 Beat Analysis

Production: Macbeth

Designer: Bob Kohler

Location: Jenerick Proscenium

Beat I-i

Page 7

The  initial  prophecy  of  the  Weird  Sisters  foretells  the  possibility  that  

Macbeth  will  be  king.  Macbeth  appears  to  believe  in  the  supernatural  and   when  

Duncan, king of Scotland, hears an account of the success in battle of his noblemen Macbeth and Banquo.

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I-iii

13

First Witch Second Witch Third Witch Macbeth Banquo Ross Angus

l

The three witches greet Macbeth as “Thane of Cawdor,” and “king hereafter.” They then promise Banquo that he will father kings, and they disappear. Ross and Angus arrive with news that the king has named Macbeth “Thane of Cawdor.” Macbeth contemplates killing Duncan to become king. Duncan demands and receives assurances that the former than of Cawdor has been executed. When Macbeth, Banquo, Ross, and Angus join Duncan, he offers thanks to

l

l

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in  fact  murder  Duncan  and  becomes  king.  But  it  is  not  an  easy  throne  to  sit  upon,  for   when  his  suspicious  friend,  Banquo,  threatens  his  security,  Macbeth  fears  his  secret  

destroy  anyone  who  threatens  his  throne.    He  seeks  out  the  witches  once  more  and  

l

l

or  left  to  chance  “without  (his)  stir.”(I,  iii,  149)  Macbeth,  urged  on  by  his  wife,  does  

Directorial Analysis, 2013.

l

Duncan Malcolm Captain Lennox Ross Angus

doth  unfix  my  hair  and  make  (his)  seated  heart  knock  at  (his)  ribs…”  (I,  iii,  148-­‐149)  

madness  and  springing  him  into  action  once  more,  attempting  the  rest  of  the  play  to  

The three witches plan to meet Macbeth.

9

inevitable  truth  that  may  be  brought  on  by  murderous  acts  “whose  horrid  image  

Banquo’s  ghost  haunts  him,  driving  his  guilt-­‐stricken  mind  one  step  closer  to  

Conflict(s)

I-ii

another  part  of  the  witches  prophecy  does  come  to  be,  he  accepts  this  to  be  the  

exposed  and  murders  Banquo.  His  momentarily  peaceful  reign  faces  a  crisis  when  

Summary

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by  even  more  abhorrent  crimes.      

Characters First Witch Second Witch Third Witch

l

I-iv

25

Duncan Malcolm Donalbain, Lennox Macbeth Banquo Ross Angus

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Beat Analysis, 2013. l

l

Resolution

When to meet? Where to meet? Whom to meet? The current Thane of Cawdor is a rebel to Duncan.

l

After the battle, they will meet Macbeth on the heath.

l

If the witches are correct and Macbeth will become king, then should he kill Duncan or simply do nothing and let it happen?

l

Duncan orders the execution of the rebel thane of Cawdor and sends messengers to announce to Macbeth that he has been given Cawdor’s title Macbeth decides to think on it and talk to Banquo about the prophecies at another time.

With Malcolm named successor, how will Macbeth be king one day?

l

l

Macbeth sets out to prepare for the royal visit. Macbeth is convinced that he can only become king by killing Duncan.

Date: July 2013


Theoretical

SCENIC Design Scenery Ground Plans


Arsenic and Old Lace, 2011


Fiddler On The Roof, 2012


Insert Macbeth renderings, etc....

Macbeth, 2013


S c e n i c D e s i g n Classes Paint technique, 2011.

Learning to draft, 2011.

White model, 2011.

Scenic painting, 2012.


Gold leafing, 2012.

Battery-operated candle, 2011.

Sculpting props, 2012.

P R O P S D e s i g n Classes


Theoretical

COSTUME

Design

Arsenic and Old Lace, 2011.

Fiddler On The Roof, 2012.

Costume Plots

Macbeth, 2013.


Fiddler On The Roof, 2012.

Costume Renderings

Macbeth, 2013.


A p p l i e d

COSTUME

Design

The Barstow School, March 2012

Costume Renderings


Production Photos


Sewing

& Patterning C l a s s e s

2011

Same pillow in my office at school.

Pillow project showing machine stiching, embroidery and use of fringe.


2012

Designing a Chicken.

Labeling pattern pieces.

Cutting out the fabric.

The finished bird.


Makeup Classes

Old Age 2011


Animal: Rooster, 2012


Theoretical

L i g h t Design

Hang and focus.

Fiddler On The Roof, 2012


Insert Macbeth light plot..... Macbeth Jenerick  Theatre CHANNEL DIMMER  

Macbeth, 2013

Designer:  Bob  Kohler June  2013

CHANNELS  HOOK  UP POSITION

UNIT   #

INSTRUMENT   TYPE S4  19 S4  19 S4  26 S4  26 S4  26 S4  36 S4  36 S4  36 S4  19   S4  19   S4  26 S4  26 S4  26 S4  36 S4  36 S4  36

WATTS

FOCUS

COLOR

500 500 500 500 500 500 500 500 500 500 500 500 500 500 500 500

AREA  1 AREA  2 AREA  3 AREA  4 AREA  5 AREA  6 AREA  7 AREA  8 AREA  1 AREA  2 AREA  3 AREA  4 AREA  5 AREA  6 AREA  7 AREA  8

R03 R03 R03 R03 R03 R03 R03 R03 R66 R66 R66 R66 R66 R66 R66 R66

WARM  FRONT

1200  1200

CYC

R359

Medium  Violet  SL

1200  1200

CYC

R359

Medium  Violet  SR

1200  1200

CYC

R25

Orandge  RED  SL

1200  1200

CYC

R25

OrangeRED  SR

1200  1200

CYC

R90

Yellow  Green  SL

1200  1200

CYC

R90

Yellow  Green  SR

PARNEL PARNEL PARNEL PARNEL PARNEL

500 500 500 500 500

AREA  1+2 AREA  3+4 AREA  4+5 AREA  6+7 AREA  7+8

R84 R84 R84 R84 R84

BLUE  WASH

1  ELEC 2  ELEC 2  ELEC 3  ELEC 3  ELEC

PARNEL PARNEL PARNEL PARNEL PARNEL

500 500 500 500 500

AREA  1+2 AREA  3+  4 AREA  4+  5 AREA  5+6 AREA  6+7

R325 R325 R325 R325 R325

RED  WASH

1  ELEC 1  ELEC 3  ELEC 3  ELEC

  PARNEL PARNEL PARNEL PARNEL

  500 500 500 500

  AREA  2+3+  4 AREA  1+4+  5 AREA  5+6 AREA  6+7

R11 R11 R11 R11

1 2 3 4 5 6 7 8 11 12 13 14 15 16 17 18

15 11 24 21 18 1 12 9 10 8 22 20 16 14 19 7

3  FOH 3  FOH 2  FOH 2  FOH 2  FOH 1  FOH 1  FOH 1  FOH 3  FOH 3  FOH 2  FOH 2  FOH 2  FOH 1  FOH 1  FOH 1  FOH

21

28

4  ELEC

22

52

4  ELEC

23

51

4  ELEC

24

50

4  ELEC

25

49

4  ELEC

26

26

4  ELEC

31 33 34 36 37

34 35 32 45 41

1  ELEC 2  ELEC 2  ELEC 3  ELEC 3  ELEC

41 43 44 46 47

33 36 31 46 42

  53 54 56 57

37 30 47 40

1A                 3  CIRC  R40  STRIP 2A 3A                 3  CIRC  R40  STRIP 4A 1B                 3  CIRC  R40  STRIP 2B 3B                 3  CIRC  R40  STRIP 4B 1C                 3  CIRC  R40  STRIP 2C 3C                 3  CIRC  R40  STRIP 4C

Page  1  of  2

NOTES: WARM  FRONT WARM  FRONT WARM  FRONT WARM  FRONT WARM  FRONT WARM  FRONT WARM  FRONT COOL  FRONT COOL  FRONT COOL  FRONT COOL  FRONT COOL  FRONT COOL  FRONT COOL  FRONT COOL  FRONT

BLUE  WASH BLUE  WASH BLUE  WASH BLUE  WASH

RED  WASH RED  WASH RED  WASH RED  WASH   Gold  Wash Gold  Wash Gold  Wash Gold  Wash


Theoretical

IN  

Computer   with  QLab  

S o u n d Design

 

MT  Pit     Mini  Disk   Player   Wireless  1   Wireless  2   Wireless  3  

Learning Q Lab.

Wireless  4   Wireless  5   Wireless  6   Wireless  7   Wireless  8  

Speaker 1 – JBL 12”

Signal Flow Diagram

     

OUT  

1   2         3   4         5       6       Mixer   7     8       9     10       11       12  

                                     

1     2     3     4    

Powered   SPEAKER:   JBL12   Powered   SPEAKER:   JBL  12   KRK  8    

 

Powered   SPEAKER:   JBL  12  

   

Powered   SPEAKER:   JBL  12  

 

CD Player

Speaker 2 – JBL 12”

Input In 3 & 4

In 1 & 2

Output

Computer

1 2 3 4 5 6 7 8 9 10 11 12

Right

Mixer

Out 4 Out 3 Out 2 Out 1

Left

INPUT   CHANNEL

INS

Speaker 3 – KRK 8”

OUTS

Production:Arsenic and Old Lace Designer: Bob Kohler July 2011

Speaker 4 – KRK 8” Right

1 1 2 2 2 2 3 4

OUTPUT   CHANNEL

KRK  8    

 

FIDDLER ON THE ROOF THE  JENERICK  THEATRE,  Utopia  OR   July  2012   Sound  Design:  BOB  KOHLER  

 

SOUND  REINFORCEMENT  PLAN

Left

KRK  8    

USL  SFX   Speaker     USR  SFX     Speaker  

MAIN  Right  

    Front     Fill     Speakers    

KRK  8    

 

MAIN  Left  

SIGNAL  FLOW  

FIDDLER ON THE ROOF

NAME Qlab  L Qlab  R MT  Pit  L MT  Pit  R Mic  1 Mic  2 Mic  3 Mic  4 Mic  5 Mic  6  Mic  7 Mic  8

Name Main  Left Main  Right Front  Fill  1 Front  Fill  2 Front  Fill  3 Front  Fill  4 USL  SFX   USR  SFX

ACTOR  

Tevye Golde Tzeitel Motel Hodel Chava Perchick Shared*

Notes Hanging Hanging DSFR DSR DSL DSFL Hanging Hanging

Sound  Design:  Bob  Kohler July  2012

SOURCE

PATCH  

Computer Computer Mini  Disk Mini  Disk Wireless  1 Wireless  2 Wireless  3 Wireless  4 Wireless  5 Wireless  6 Wireless  7 Wireless  8

Output  3 Output  4 Out  1,  2,  3 Out  1,  2,  4 Out  2 Out  2 Out  2 Out  2 Out  2 Out  2 Out  2 Out  2

Output JBL  12 JBL  12 KRK  8 KRK  8 KRK  8 KRK  8 JBL  12 JBL  12


IN  

Computer   with  QLab    

 

Wireless  1   Wireless  2   Wireless  3   Wireless  4   Wireless  5   Wireless  6   Wireless  7   Wireless  8        

OUT  

1   2         3           4       5       Mixer   6     7       8     9       10       11     12  

                   

                 

1     2     3     4    

Powered   SPEAKER:   JBL12   Powered   SPEAKER:   JBL  12   KRK  8    

 

Powered   SPEAKER:   JBL  12  

   

Powered   SPEAKER:   JBL  12  

 

KRK  8    

USL  SFX   Speaker     USR  SFX     Speaker  

KRK  8    

1 2 3

INPUT   CHANNEL

4 5 6 7 8 9 10 11 12

OUTS 1 1 2 2 2 2 3 4

OUTPUT   CHANNEL

NAME

Name Main  Left Main  Right Front  Fill  1 Front  Fill  2 Front  Fill  3 Front  Fill  4 USL  SFX   USR  SFX

 

SIGNAL  FLOW  

ACTOR  

Qlab  L Qlab  R Qlab  Mono Mic  1 Mic  2 Mic  3 Mic  4 Mic  5 Mic  6  Mic  7 Mic  8

Cue No. Sc/Page:

MACBETH

SOUND  REINFORCEMENT  PLAN The Scottish Play MACBETH INS

MAIN  Right  

THE  JENERICK  THEATRE,  Proscenium  Stage   2013   Sound  Design:  BOB  KOHLER  

 

First  Witch Second  Witch Third  Witch Hecate Macbeth Lady  Macbeth Banquo Macduff

Notes Hanging Hanging DSFR DSR DSL DSFL Hanging Hanging

SOURCE

Sound  Design:  Bob  Kohler 2013 PATCH  

Computer Computer Computer

Output  4 Output  3 Output  1

Wireless  1 Wireless  2 Wireless  3 Wireless  4 Wireless  5 Wireless  6 Wireless  7 Wireless  8

Out  2 Out  2 Out  2 Out  2 Out  2 Out  2 Out  2 Out  2

Output JBL  12 JBL  12 KRK  8 KRK  8 KRK  8 KRK  8 JBL  12 JBL  12

Purpose

Theatre: The Jenerick Theatre

Production: MACBETH

    Front     Fill     Speakers    

KRK  8    

 

MAIN  Left  

Description

1

Intro Announcement Silence cell phones, etc announcement to signal start of show

2

I, i Opening Music and Battle Sounds Follow Opening Announcement…

3

I, ii Low Drone Transition to Scene 2, plays under scene

4

Actor

Witches

Cue Line/Action on Stage

HOUSE LIGHTS GO TO HALF

…there to meet with Macbeth."

I, iii p. 13 Thunder with droning under scene

5

I, iii p. 19 Quiet It gets quiet to signify reality.

Witches Exit

6

I, iii p. 21 Accent chord Accent sound on the prophecy coming true

110 "Thane of Cawdor

7

I, iii p. 25 Drumming and flourish This also serves as transistion into next scene

8

I, iv p. 29 Drumming transition into next scene

9

I, v p. 31 Accent chord Lady McB Lay it to thy heart and farewell. As she finishes the letter the music chord accents her thoughts

10

I, v p. 33 Raven/crows Lady 33 to have thee crowned withal a Raven crows hoarsely to signal the messenger's entrance as she refers to later

11

I, v p. 33 High drone Droning is spoky under her incantations…….

12

I, v p. 35 drums and oboes Lady Transiton into the next scene as King Duncan enters with entourage.

86 Leave all the rest to me

13

I, vi p. 39 Low drone End of scene

Duncan

39 By your leave, hostess.

14

I, vii p 41 High drone This interrupts his speech as Lady Macbeth enters

Macbeth 28 And falls on th' other--

15

I, vii p. 45 Night sounds End of scene, End of Act I

Macbeth 95 False face must hide what the false heart doth know

16

II, I p. 49 crickets Follows from the end of Act I

Macbeth 175 Til then enough. ---Come, my friends.

end of scene

lady Come you spirits…. Ends on line: "to cry hold, hold.: ( 61)

Mono Voices Left/Right  SFX

JUNE 2013 Designer: Bob Kohler

Out at end of scene

1


A p p l i e d

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15

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13 R ,  20 r e HLE ob KO t   c B O :  BO ner g i W s De nd    FLO

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22

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SOUND  REINFORCEMENT  PLAN INS

OUTS

INPUT   CHANNEL

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24   OUTPUT   CHANNEL 1 1 2 2 3 4 Aux  1 Aux  2 Aux  3

NAME

GODSPELL ACTOR  

SOURCE

Sound  Design:  Bob  Kohler October  2012 PATCH  

Mic  1 Aaron Wireless  1 Mic  2 Harrison Wireless  2 Mic  3 Tori Wireless  3 Mic  4 Daria Wireless  4 Mic  5 Mitch Wireless  5 Mic  6 Ben Wireless  6 Mic  7 Izzy Wireless  7 Mic  8 Sydney Wireless  8 mic  9   Ramelle Wireless  9 Mic  10 Jay Wireless  10 mic  11 Ali Wireless  11 All  channels   Mic  12 Stephanie Wireless  12 patch  to  all   Mic  13 Handheld  1 Wireless  13 outputs Mic  14 Handheld  2 Wireless  14 Computer Macbook  ProComputer not  used  for  this  show Band  1 Piano Inst  Mic  1 Band  2 Yamaha  Key Keyboard  in Band  3 Guitar Inst  Mic  2 Band  4 Bass Inst  Mic  3 Band  5 Drums Inst  Mic  4 Band  6 Cello  1 Inst  Mic  5 Band  7 Cello  2 Inst  Mic  6 FX   Name

Notes

Far  Left Hanging Left Hanging Right Hanging Far  Right Hanging Green  Room in  room Sub  Woofer under  stage Conductor on  stand Drummer on  stand Video

Output not  labeled not  labeled not  labeled not  labeled in  ceiling ? Belong  to   drumer

The sound design for GODSPELL utilized both handheld and ear-set wireless microphones,, along with a 7-piece live band.


Elective C L A S S

S T A G E Combat Summer 2011

Training starts with pool noodles!

Acting I and Acting II classes at The Barstow School now include a unit in stage combat.


Elective C L A S S

Puppetry Design Summer 2012 Finished! Laying out the Pattern. Using puppets in GODSPELL, 2012.

Building the puppet.


P

R

O

D

U

C

T

I

O

N

S

2 0 1 1 - 2 0 1 3


T h e T h e

C r u c i b l e

B a r s t o w

M a r c ~ B o b D i r S o u n d & C o s t u m L i g h t

S c h o o l

h 2 0 1 2 K o h l e r ~

e c t o r V i d e o T e c h e D e s i g n e r i n g T E c h


E

u

T h e

r

y

B a r s t o w

A p r i ~ B o b S S L

o

e i

t g h

d

u

n

t

i

l

y

c

S c h o o l

2 0 1 K o h l e r

d D e n g

e

2 ~

T e c h s i g n e r d s i g n e r


G

O

T h e

D

S

P

E

B a r s t o w

L

L

S c h o o l

O c t o b e r 2 0 1 2 ~ B o b K o h l e r ~

D S L

o i

i u g

r

n h

e

d t

c

D i

t

e n

s g

i

g T

o n e e c

r r h


W I L L Y T h e

W O N K A

B a r s t o w

S c h o o l

J a n u a r y 2 0 1 2 ~ B o b K o h l e r ~ P S L

r o d u c t i o o u n d D i g h t i n g

n Ma e s i d e s

n a g e g n e i g n e

r r r


THE IMAGINARY INVALID T h e

B a r s t o w

M a r c ~ B o b D i S o u L i g h

r

n d t i n

e

h 2 0 1 3 K o h l e r ~ c

D g

S c h o o l

t

o e s i g n e D e s i g n e

r r r


R o s e n c r a n t z & G u i l d e n s t e r n are Dead T h e

B a r s t o w

A p r i ~ B o b

l

L i g h t i n g S o u n d S c e n i c

S c h o o l

2 0 1 3 K o h l e r ~ D D

D e s i g n e r e s i g n e r e s i g n e r


Commencement Address May 20, 2012 The Barstow School Kansas City MO This is an artistic expression of mine outside of the classroom and outside of the theatre, yet directly related to and greatly influenced by both endeavors.



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