From the beginning, it was clear the scenic language needed to support a nonlinear dramaturgy. The play leaps between beach and cathedral, war zone and heaven. Characters slip between time and identity. Puppetry, projections, and movement required the space to transform without literalism.

I flew into Chicago the night before. I was a bit broke, but I had a plan. I printed all of my materials—resumes, images, labels. I packed a folded tablecloth and a new suit I had just bought on Amazon for $79 and opted for tennis shoes instead of dress shoes. They were more comfortable, and I never liked how formal footwear felt anyway.

There's a portrait that watches over the Macklanburg Playhouse. If you've ever performed there, you've seen it—Maude Adams, eyes just over your shoulder as you step into the light. The original Peter Pan. A Broadway icon. But more than that: a pioneer in theatrical lighting and the former head of the drama department at Stephens College.