HANGAR DESIGN FELLOWS

2022 HANGAR THEATRE

DESIGN FELLOWS

ABIGAIL COPPOCK [She/Her] MFA, Sound Design Graduate of Ohio University. Previous credits include Eurydice (Sound Designer), Men on Boats (Sound Designer), The Tragedy of Macbeth (Sound Designer/Composer), Angels in America (Sound Designer), Perfect Arrangement (Sound Designer), Effective Magic (Sound Designer), Pluto (Sound Designer). SAMANTHA MASTRATI is a recent graduate from Boston University's School of Theater with a BFA in Scene Design. Along with her interests in scenic design, she is also skilled in the areas of scenic painting and props artistry. Her true passion is storytelling, and as a scenic designer she finds great joy in creating the worlds where these stories unfold! Some of her recent work has been The Corruption of Morgana Pendragon at Boston University and Walking the Tightrope at Wheelock Family Theatre. JOHNNA PRESBY is thrilled to be a part of the Hangar Theatre’s 2022 Summer Season as this year’s costume design fellow. Much love to her family, friends, and this amazing cast and crew! B.F.A.: University of North Carolina School of the Arts IG: @johnna.presby.design HANNAH S. WOLLAND is a lighting/projection designer and stage manager currently based in Dallas, TX. A New York native, she got her BFA in Theatre Design and Technology at the University at Buffalo. Hannah is now a rising third-year student at Southern Methodist University’s MFA in Stage Design program. Her recent design work includes Hurt Village, The Crucible (Opera), and The Dance Fabric of Dallas at SMU, as well as The Little Mermaid and The Wedding Singer at The Naples Players.

there themes in this show that will inspire the dance? Fatima: For the theater, I like making dance that is organic, unencumbered, concise and available for meaning-making by the performer and audience alike. Working with actor-musicians really encourages me to lean into that simplicity, keeping only what's essential in the form, particularly out of consideration for what I cannot instruct: the coordination between singing, dancing and playing. (Which I think adds its own sort of internal complexity to the movement!)

As far as inspiration, I dramaturg from time to time so I'm quite inspired by the factual bits; the who (people), where (place) and when (time). For the "facts" I turn to researching (and trying to physically embody) social/folk and historical dance traditions. I think there's something so cool about how these dances simply can not be authored by one person, and there is so much to learn about people, place and time by dancing them. They are forged over time, communally - and the result is something as fun, simple and accessible as it is existentially revelatory and meaningful. ▲