Fordham University            The Jesuit University of New York
Fordham Theatre Department

Fit for a King, Set Design: Jessica Bonaventure

All the People You've Been, Set Design: Jessica Bonaventure

Horse Girls, Set Design: Daniel Geggatt

Design and Production
The Glass Menagerie, Lighting Design: Victoria Bausch and Sarah Devon Ford

Design and Production

Design and Production
Design and Production
Design and Production
Design and Production

Projection designer, and Fordham Alum, Aaron Rhyne teaches a masterclass to current Fordham students.

Congratulations to Fordham theatre alum Aaron Rhyne, Video and Projection Designer for the Broadway production of

The  production's biggest success may be Aaron Rhyne's projections, which include vintage photos of the real-life models for the characters on stage — including their mug shots.
                    Thom Geir, Entertainment Weekly

About the Design and Production Track

Our faculty of working design and production professionals, coupled with the extensive network of reference facilities in New York City, provide students with an excellent environment for learning their craft.
We feel strongly that undergraduate design students should be exposed to all areas of theatre design. The first two years of the program include drawing, drafting, model making and fabric in 3-D. The students' final two years involve a more concentrated investigation of design for the theatre. Design students have numerous opportunities to work with student directors and playwrights on studio productions from staged readings to fully produced, full-length plays.

Every spring, design and production majors showcase their work at an annual design show, where designers from the professional theatre community give feedback on the students’ work.
Fordham has two studio spaces—the Veronica Lally Kehoe Theatre (a state-of-the-art studio theatre), and a “white box” theatre. They each offer different approaches to designing as well as the types of plays that can be done in the individual spaces. It is an exercise for young artists to begin to embrace the architecture of a space, an integral part of the design process.

(14 Courses, 47-50 Credits)

Foundation courses required of all theatre majors:
THEA2080 Collaboration I (open to theatre majors only)
THEA2090 Collaboration II (open to theatre majors only)
THEA2011 Text Analysis 
THEA2000 Theatre History I: The Greeks
THEA2100 Theatre History II:  Medieval to the Restoration
THEA2200 Theatre History III: Modern to the Present

Design and Production
track required courses:
THEA2070 Theatre Design
THEA1151 Drawing: Architecture & Stage
VART1161 Form and Space
THEA3205 Page to Stage
THEA4511 Design Production Workshop I

Choose 3 courses from the list below based on your area of focused concentration in Set Design, Costume Design, Lighting Design, or Stage Management:
Drawing for the TheatreII(Drafting II, Model Making), Design and Production Workshop II, Design and Production Workshop III, Set Design, Set Design II, Costume Design, Costume Design II, Lighting Design, Lighting Design II, Sound Design, Stage Management, Stage Management II, Theatre Management, Stage Make Up and Hair, Projects Set Design, Projects Costume Design, Projects Lighting Design, Projects Stage Management

Cross-listed courses with other programs and departments can also be taken to supplement the three courses for concentration in Design and Production:
VART1055 Figure Drawing I
VART1124 Photography I
VART1135 Visual Thinking I
VART1265 Film Video I
VART2185 Photography II
VART1180 Painting I
ARHI1100 Art History Intro
MUSC1100 Intro to Music


Collaboration I and II
A two-course sequence for all freshmen theatre majors. This course will instill in students that the primary skill in the theatre is the ability to work together. Students across each concentration (performance, playwriting, directing, and design and production) will create short pieces as a team with leading roles circulating

Text Analysis
Through careful, intensive reading of a variety of plays with different dramatic structures and aesthetics, students begin to see that options exist for interpreting a script.
Theatre History I: The Greeks
The course explores the major developments in the ancient Greek theatre, focusing on the plays of Aeschylus, Sophocles, and Euripides. To enrich our context we will read primary Greek texts including The Iliad and The Odyssey, and contemporary responses to the Greeks from writers such as Wole Soyinka, Adrienne Kennedy, and Derek Walcott. The course is open to non-majors.
Theatre History II: Medieval to the Restoration
The course explores the major developments in Theatre from 1588 to 1720. We use major works as a focus including the plays of Hrotsvitha, Marlowe, Shakespeare, Webster, Ford, Calder-n de la Barca, Chikamatsu, Moliere, Racine, Congreve, and Centlivre. We explore their context - when, where, and why they were written - the lives of the playwrights, and the culture and the politics of their society. The course is open to non-majors.
Theatre History III: Moderns to the Present
The course explores the major developments in Theatre from 1879 to the present using major plays of Ibsen, Strindberg, Chekhov, Wedekind, Stein, Brecht, O'Neill, Artaud, Genet, Kennedy, Beckett, Soyinka, Mishima, Churchill, and the movements of performance art and butoh. We explore their context - when, where, and why they were written - the lives of the playwrights, and the culture and the politics of their society. The course is open to non-majors.

Theatre Design
Complete a world for a play complete and true unto itself by thoroughly researching the text and characters through both visual and emotional research. Learn to react viscerally and instinctually to the text and then articulate that reaction through various forms used in the professional theatre: models, costume sketches, lighting sketches, sound landscapes, projection, drawings, and research. This course will serve to instill a thorough process that can be utilized for the remainder of one’s theatrical career and will guarantee that a production will result whether you’re a playwright, director, designer, or any theatre artist.
Drawing: Architecture & Stage
Work in pencil, ink, charcoal, and other graphic media with an emphasis on proportion, scale, contrast, drawing the human figure in space and movement sequences. Work with computer drawing tools for conceptual diagramming, linear perspective, and storyboarding. Design/Drawing projects outside of class times will be required. This course is intended for theatre/design and visual arts/architecture students.
Page to Stage
This is a class primarily for directing and design students in how to collaborate to translate words on a page into a vision for production.  Using a classic realist text as a model play, students will discuss the work in class, do visual and dramaturgical research, and work in teams to develop design ideas, sketches, and models. The focus will be on uncovering and releasing one’s own personal vision of the play as well as on how to collaborate to achieve a collective vision. Outside readings and video screenings of other directors’ and designers’ work complement students’ own investigations into the focal text. In addition to working with the designers to articulate production approaches, directing students will also cast actors and rehearse scenes from the play outside of class. The semester will culminate in a final evening presentation of the scenes and design work.
Design Production Workshop I, II, & III
This course is designed to run with Directing Workshop to merge design and directing students in practical production experiences. In the process, students will hone their ability to analyze text, shape a design idea, communicate with artistic collaborators, create working drawings and models, plan a production schedule, and create and manage a budget. The focus is play production and attending
Form and Space
Our environment provides us with the settings and props for the unscripted performance of life. This course will concentrate on the tools of architecture –model-making, computer modeling, freehand sketching and diagramming – and show how these tools are used to create three dimensional environments, supported by precedent, research, and critique.
Set Design I & II

Set Design examines how the design of an environment must capture the world for the play and delineates a place for the characters to exist and reverberate within. It is essential to the storytelling aspect of an overall production for a designer and a director. While learning how to break down a text, we explore character development as well as an emotional response to the play so that visual research can be done. Through models, sketches, and computer montage rendering, students hone their process and how to articulate their ideas.

Costume Design I & II
Costume Design explores how the design of the clothes is essential to not only the world of the play but toeach individual character keeping in mind the environment they will inhabit. While learning how to break down a text, we explore character development as well as an emotional response to the play so that visual and historical research can be done. Through research, sketches, and rendering, students gain a process and how to articulate their ideas.

Light Design I & II
Investigates how lighting design completes the visual world of the play on stage. Lighting is the key element to the movement of the production as it relates to transitions between scenes and helping define time and place. We willalso examine alternative functions anduse of light within scenery and space.

Sound Design I & II
Explore the conceptual and technical components of sound design, including critical listening, production organization, fundamental engineering, and script analysis. From the physics of sound waves to the finesse of cueing, Sound Design covers the foundations of the field. The class will touch on topics in acoustics, system design, vocal reinforcement, sound effects, playback and audio development software, and the role of sound design in the rehearsal and tech process. The goal is to develop the conceptual rigor and practical technique to support a small production with an integral audio component.

Stage Management I & II
A study of the organizational responsibilities and practical skills needed by stage managers to bring a production through auditions, rehearsals, and performances. Students stage manage a studio theatre production or main-stage production. Also crew work on load in and strike for main-stage production.  (Alternate years)

Stage Makeup and Hair
An introduction to stage makeup, including planning and executing a variety of makeup styles and techniques. From fantasy to old age, bruises to animal stylization, students will be challenged not only to design makeup but create characters to inform their makeup choices. other topics will include hairstyles and basic prosthetics.

TDLV 3300-Theatre, Creativity, and Values
This course is designed to give students an opportunity to examine and reflect upon creativity and the Theatre. How does creativity mark the distinctness of the human person? How does human creativity point to the presence and action of God? What purpose does the Theatre serve for society? Emphasis is placed on personal integration of philosophical principles and personal technique and craft. Open to Theatre Majors and minors only.

THEA2900-Theatre Management
An introduction to the managerial aspects of American theatre. Topics include:  forming a production company, artistic policy, union contracts, the role of the producer, fundraising, marketing and audience development, etc. Lecture, discussion, field trips, guest speakers from the professional theatre community.

TDLU 3900-Professional Internships

Supervised internship at an outside professional institution related to theatre, television, or film. Monthly evaluations. Prerequisite: consent of chairperson.

See other sections for course descriptions on:
THEA4999 4 Credit Tutorial in Theatre
THEA2510 Theatre as Social Change
THEA2511 Theatre and Social Justice in Latin America
THEA3017 Song as Scene
THEA3095 Stage Combat
THEA4025 Flying Solo
THEA4045 Young Gifted and Black
TDLU 4302-Russian Theatre Workshop
(2 credits; two-week winter break abroad in Moscow; extra fees apply)


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