Wonderland is a modern retelling of Lewis Carroll's story about Alice in Wonderland. In this musical, Alice is grown up and facing a divorce because she has been so consumed attempting to please her bosses that her familial responsibilities have fallen by the wayside. But one night, she wakes up to find herself transported to another world. 

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This was our guest designer Zach's first time designing a show at BYU, and since he lived in Seattle, he relied heavily on me as his assistant to communicate with the director and design team. Additionally, I was responsible for informing him about the rep system in the theatre and what resources would be available to him, so he could make educated design decisions. Consequently, all of the paperwork associated with the physical system was assigned to me since I was more acquainted with how things would fit together in the space. 

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I also had the opportunity to be the mix engineer on the show, which presented a lot of unique challenges. With more than 90 inputs operating in a 5.1 environment across two levels of theatre, there was a lot to keep track of and keep organized—especially when load in began—but our pre-production and paperwork helped make it manageable and go rather smoothly. Mixing on an SD10T also came with a steep learning curve, but it was ultimately a valuable tool because we had several principle characters fall ill during the run of the show, and we were forced to swap in understudies who were singing offstage.