Recent Projects

What have I been up to, you ask?

The Beginning…

of the end!  I’m writing this as I head into my final three weeks of undergraduate schooling at the amazing Carnegie Mellon School of Drama.  There is plenty still left to do: I’m stage managing a production of The Brothers Size by Tarell Alvin McCraney (details here!), finishing up some interesting class projects, and of course, looking for jobs and wondering what’s next!  After those three weeks there’s a class trip to Los Angeles to showcase my work and meet with industry professionals, a big party to celebrate CMU Drama’s Centennial year, one more end-of-semester critique, and of course, GRADUATION!  It should be an exciting time, and I’m going to head into it with my game face on.  Look for more updates here as things progress!

Peace,

Becca

 

(photo credit: the bygone beyonceinamerica.tumblr.com)

Published: 14/04/2014 | Comments: 0

Opening to Catastrophe

This piece was composed in the style of Young Jean Lee’s Theater Company for a hypothetical design of the short play Catastrophe, written by Samuel Beckett.  I imagined it as a prelude to this preparation of a play, hearing an orchestra tune up, getting the audience into the mindset of being at the theatre, but then abruptly reminding them that it isn’t all fun and games here.

Happy Listening!

 

(the drawing that serves as the cover art is also a Becca Stoll Original)

Published: 02/04/2014

The Crucible

This is a sample from my design for Arthur Miller’s The Crucible, directed by Tony McKay at Carnegie Mellon.

The design concept for this production was that while Miller’s written words speak for themselves, the transitions between acts were used to shed light (and sound!) on the playwright’s allegory, comparing what happened in Salem in 1692 to what was happening in the US in 1953. To achieve this, I created my own blend of eerie natural soundscape combined with music that, at the time, was responding to the heated political climate of McCarthyism: movements like minimalism and musique concrète in classical music, and composers like Morton Feldman, Steve Reich, Philip Glass, John Cage, and others.

At the end of Act One, as the girls of the town begin shouting the names of persons they have allegedly “seen with the devil,” their voices begin to reverberate around the audience and engulf them in the chaos.  When the excitement finally reaches its crescendo, a character onstage sounds an alarm bell, the lights dim, and a line of actors move to the front of the stage and sing the hymn “Jesus Shall Reign” while the set changes behind them.  Finally, the loud bells and chaotic winds give way to a peaceful, serene soundscape, and the lights come up on the house of John Proctor, where we begin Act Two.

Happy Listening!

Published: 03/10/2013