THE
EMISSARY
Scenic Design — COSTUME Design — ART DIRECTION — icon DESIGN — Prop FABRICATION
Yayoi Kambara, Director
Spense Matubang, Lighting Designer
Phil Lowry, Director of Production
Brian Staufenbiel, Creative Director
TEAM
Kenji Oh, Composer
Kelley Rourke, Librettist
Kristen Loken, Photographer
The Emissary is the debut opera by Kenji Oh and Kelley Rourke, produced by Opera Parallèle in San Francisco.
I was tasked to design the costumes, sets, and props for the world premiere with a cast of 16 singers including sourcing, building, budgeting, and producing all design element.
DRagonfly,
What do you see there across the sea?
Design Approach
PROCESS
The process began with a thorough examination of the source material: delving into the original book and libretto, immersing in the score and lyrics, and engaging in discussions with the director, the production team, and stage manager. Collaborating closely with the director, I gained insights into the representation of each scene and how the sets and props would shape their dynamics.
The sets and props were crafted to evoke a sense of old Japan infused with Western touches, employing a blend of building, reusing, and repurposing, ensuring versatility. Embracing a minimalist aesthetic with clean lines juxtaposed with elements of grit, graffiti, and paint, the materials—such as natural woods and warm metallics—were chosen for their mobility and multifunctionality. For instance, a wall composed of repurposed wooden apple crates and boxes, mounted on wheels, served as both a backdrop for home scenes and a market setting. Similarly, a desk crafted from crates and old pipes transformed seamlessly into a market counter and a preparation table. Inspired by the silhouettes of post-apocalyptic burnt trees, Japanese architectural motifs, and Kanji characters, hanging fabric backdrops delineated spaces while concealing entrances and exits.
In terms of costume design, the vision drew from a futuristic, utilitarian Japanese aesthetic, emphasizing layering. Principals adorned in brighter, cool hues contrasted with the Chorus, who favored neutrals, greens, browns, accented with splashes of pink, while the Secret Society members were distinguished by pops of red.
Resourcefulness was key, as all materials were meticulously sourced from discount online marketplaces, thrift stores, vintage flea markets, scrap yards, and salvaged items, all while adhering to a strict budget. Taking on multiple roles, I undertook the construction, painting, and sewing of sets, as well as painting market signs, styling costumes, and assisting with installation. This endeavor truly embodied a collaborative effort, uniting the director, lighting designer, performers, musical director, and production team in bringing the artistic vision to fruition.
OUTCOME
The shows ran to full houses every performance, earned approval from both the opera's creator and the Opera Parallèle team, and received a glowing review. This achievement will cultivate future projects.
Research & Development — Spacial Organization — Color — Detail Oriented — Problem Solving — Organization — Sewing — Styling — Carpentry — Sourcing — Flexibility — Budgeting — Time Management — Innovation — Prototyping — Resourceful
