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ions and avoid direct references to their problems, the set is shrouded in a misty haze that conveys ambiguity. The characters’ false fronts in personality are mirrored by Ressa’s use of fake scenery that gives the illusion of things being on the stage, but in fact are specters working in the imaginations of the audience. Ressa sought to achieve universality with the set design, and therefore chose a futuristic style, costumes organic in nature, with a compilation of cultures existing within the characters, but contrasted with a clean set uncluttered by cultural references to leave the audiences mind clear to process the complexities of the story. Ward introduced Ressa to Svoboda’work and from this influence he was about to use light to create sets emulating Svoboda’s style of creating space through illuminated colored mists, even using a red light on the floor to symbolize a pool of the seagull’s blood. Research into this style taught Ressa the importance of the play of light and shadow on stage. Ressa created physical models, photographed them, and then created “moment pictures” from the play as multiple drawings in different media such as colored pencils and pastels. These assignments were laborious and demanded meticulous attention to detail, as Ressa often spends hours manipulating lighting, photographing hundreds of shots with lighting differences, and experimenting with modeling techniques to create the perfect effects. The small models were creatively crafted using art supplies from Mish-Mish, the local Blacksburg craft store, as well as household supplies like flashlights and colored cellophane that served as glowing moons, watery abysses, and menacing red clouds of light. Ressa used a special Plexiglas filter to make a lit-up floor and cutouts of items like trees and windowpanes to create the appearance of props while only using their shadows. A play written by John Patrick Shanley and winner of the Pulitzer Prize and Tony Award, the cinematic version of Doubt was produced by Celia D. Costas and released in January 2009 to select theatres, where it received immediate acclaim. Only a few months before, in a joint effort with Hollins University, the Virginia Tech Department of Theater Arts presented Doubt, a Parable to the 2008 Roanoke Arts Festival. Directed by Hollins University Theatre Department Chair Ernie Zulia and featuring Virginia Tech’s head of the Department of Theatre Arts, Patricia Raun, Doubt showed from October 3 to November 9. Ressa worked as scenic designer on this production and led the research that created the Bronx collage project, the culminating piece of the production. Compiled Doubt Well-researched set design is about building trust with one’s audience, knowing that what they see is a gateway into what

Southern Comfort: Civil War Style and Modern Sensibility