McLuhan Production Design Bot

A production of The Odd Couple by Neil Simon where improvised scripting is the dominant force, molding experience through holographs, green screens, and mechanical puppets.

ASMR tactics defines how the story is told in a new production of The Inheritance by Matthew Lopez, considering meaning and existentialism through motion-triggered lighting cues, moving lights, and virtual reality (VR).

A production of Medea by Euripides where Bogart’s Viewpoints technique is the dominant force, molding experience through ETC Source-4 LED ellipsoidals, directional speakers, and virtual reality (VR).

A staging of The Boys in the Band by Mart Crowley that considers how the choose-your-own-adventure format shapes theatrical experience. The production features green screens, extensive gobos, and live-feed cameras to illuminate chaos and order.

A production of The Crucible by Arthur Miller where an audience of social media users is the dominant force, molding experience through extensive gobos, AI powered technology, and UV lights.

A production of Pygmalion by George Bernard Shaw where a stand-up comedy conceit is the dominant force, molding experience through extensive gobos, AI powered technology, and cheap concert LEDs.

A new production of M. Butterfly by David Henry Hwang in a found space brings audiences the message through sensory deprivation, using technical support from data visualization and cheap concert LEDs to carry through failure.

A production of The Misanthrope by Moliere where physical interaction is the dominant force, molding experience through live-feed cameras, smartphones and laptops, and mechanical puppets.

A new production of Topdog/Underdog by Suzan-Lori Parks in a proscenium brings audiences the message through radio-play, using technical support from prerecorded narration and 3-D printing to carry through injustice.

AI interaction defines how the story is told in a new production of M. Butterfly by David Henry Hwang, considering meaning and colonialism through AI powered technology, augmented reality (AR), and live-feed cameras.

audience interaction as characters defines how the story is told in a new production of Cat on a Hot Tin Roof by Tennessee Williams, considering meaning and propaganda through concurrent turntables, social media, and projection surfaces.

a social media venue defines how the story is told in a new production of Red by John Logan, considering meaning and technology through massive LED screens, smartphones and laptops, and radio effects.

ASMR tactics defines how the story is told in a new production of Rosencrantz and Guildenstern are Dead by Tom Stoppard, considering meaning and sensuality through motion-triggered lighting cues, green screens, and scent diffusers with a specialty blend.

A new production of Troilus and Cressida by Shakespeare in a found space brings audiences the message through shadow puppetry, using technical support from live foley work and ETC Source-4 LED ellipsoidals to carry through humanity.

hand puppets defines how the story is told in a new production of King Lear by Shakespeare, considering meaning and rebirth through internet livestreaming, audience controlled lighting, and audience controlled lighting.

A new production of Equus by Peter Shaffer in a dive bar brings audiences the message through Grotowski’s Poor Theatre system, using technical support from smartphones and laptops and radio effects to carry through government.

A new production of The Inheritance by Matthew Lopez in a wedding venue brings audiences the message through digital projections on human bodies, using technical support from social media and extensive gobos to carry through war.

A production of Henry IV Parts 1 and 2 by Shakespeare where The Meisner Technique is the dominant force, molding experience through prerecorded narration, scent diffusers with a specialty blend, and holographs.

A production of The Rise and Fall of the City of Mahagonny by Bertolt Brecht where immersive sound design is the dominant force, molding experience through extensive gobos, concurrent turntables, and infrared control of lights and sounds.

A staging of Medea by Euripides that considers how live audio modulation shapes theatrical experience. The production features green screens, projection surfaces, and turntable DJ-ing to illuminate power struggle.

A production of Henry IV Parts 1 and 2 by Shakespeare where a stand-up comedy conceit is the dominant force, molding experience through augmented reality (AR), mechanical puppets, and internet livestreaming.

UV lighting defines how the story is told in a new production of Henry IV Parts 1 and 2 by Shakespeare, considering meaning and abuse through live-feed cameras, motion-triggered lighting cues, and expensive gobos.

A production of Red by John Logan where YouTube shorts is the dominant force, molding experience through social media, data visualization, and infrared control of lights and sounds.

real-time audience feedback defines how the story is told in a new production of Antigone by Sophocles, considering meaning and capital and labor through levels on stage, projection surfaces, and massive LED screens.

improvised scripting defines how the story is told in a new production of The Importance of Being Earnest by Oscar Wilde, considering meaning and existentialism through data visualization, infrared control of lights and sounds, and AI-generated storylines.

motion capture defines how the story is told in a new production of Cat on a Hot Tin Roof by Tennessee Williams, considering meaning and autonomy through infrared control of lights and sounds, live foley work, and moving lights.

A new production of The Odd Couple by Neil Simon in a theatre-in-the-round brings audiences the message through YouTube shorts, using technical support from glitch and distortion and prerecorded narration to carry through life.

A staging of The Pillowman by Martin McDonagh that considers how YouTube shorts shapes theatrical experience. The production features tiny LED screens, levels on stage, and modular set pieces to illuminate progress.

a Theatre of the Oppressed structure defines how the story is told in a new production of The Curious Incident of the Dog in the Night-time by Simon Stephens, considering meaning and family through holographs, social media, and lasers.

an algorithm defines how the story is told in a new production of Ah, Wilderness! by Eugene O’Neill, considering meaning and love through live foley work, live auto-tuning, and motion-triggered lighting cues.