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    <lastmod>2025-11-07</lastmod>
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      <image:title>Work - "The Last Night of Ballyhoo," 2010</image:title>
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      <image:title>Work - "Guys and Dolls," 2019</image:title>
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      <image:title>Work - "The Tempest," 2017</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work - "Steel Magnolias," 2012</image:title>
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      <image:title>Work - "Willy Wonka," 2017</image:title>
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      <image:title>Work - "King Lear," 2017</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work - "Doubt," 2020</image:title>
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      <image:title>Work - "You're A Good Man, Charlie Brown," 2017</image:title>
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      <image:title>Work - "And a Child Shall Lead Them," 2016</image:title>
      <image:caption>Personal Note: I don’t know if a theatre artist is allowed to have a favorite show or favorite stage memory; favorites are entirely subjective and change as we grow in our experiences. I can say, however, that “Child” will always be one of my proudest moments in theatre: partially because of the content, its story about the necessity of art, the realities of political injustice, and the fragility of our children, and partially because of the specific relationships I had with the children I directed in it and our rehearsal journey together staging this profound story.</image:caption>
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      <image:title>Work</image:title>
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      <image:title>Work - "Seven," 2016</image:title>
      <image:caption>Inspired by Tan Dun’s “Water Passion of St. Matthew,” this production featured water as a fundamental element uniting global women, their plight, their basic human needs, and their shared facility. My goal in lighting was to accent silhouette and draw attention to the interaction of water, creating a ritual performance space between actresses and audiences.</image:caption>
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      <image:title>Work - "God of Carnage," 2012</image:title>
      <image:caption>“God of Carnage” is a savage ritual of destruction simplified through the lens of situational adult comedy. In my design, the purpose of the color scheme, textures, lines, gels, and ecclectic furnishings was to create a sleekly modern altar where a pair of grown ups fail to act like civilized adults and consume each other. The dominant red floor was also a tribute to the unique vision of Mark Rothko, whose 20th century art brought attention to the powerful symbology of color and the indelible myths we insert onto simple landscapes of depth whenever we search for meaning in art.</image:caption>
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      <image:title>Work - "A Midsummer Night's Dream," 2014</image:title>
      <image:caption>Inspired by the Art Nouveau aesthetic, my mask and costume designs tried to emphasize the blur between organic forms, lush jewelry and floral patterns, and long, sinuous lines.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5cfb0fc23dbb080001a66ade/1581552496943-QROE0GUQOTESDSYF2MHQ/i-rFvdVtb-X5.jpg</image:loc>
      <image:title>Work - "Pride and Prejudice," 2019</image:title>
      <image:caption>There’s perhaps no more recognizable a style as the English Regency. Marked as a time where the English were forced into country-side isolation from the shadow of the Napoleonic Wars, we knew our production would lean into the historical aesthetic as much as possible. The set and lights called for a minimal design to complement the lightning pace vignettes of Austin’s story. Costuming gave us the opportunity to hire a seamstress familiar with the time period and able to offer student workers and designers with new skills.</image:caption>
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      <image:title>Work - "Beauty and the Beast," 2015</image:title>
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      <image:title>Work - "Mousetrap," 2022</image:title>
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      <image:title>Work - "The Servant of Two Masters," 2022</image:title>
      <image:caption>This was the show I was directing in 2020 and after we returned from an early March Spring Break, COVID shut down the world. We had some of the original actors returned, but mostly a new cast. It was joyous to revisit the comedy and especially well attended. People seemed ready to laugh again!</image:caption>
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      <image:title>Work - "Romeo and Juliet," 2021</image:title>
      <image:caption>Steampunk. Seemed like an interesting idea, and popular with young audiences. Two households stand in stark opposition, steampunk fuses fantasy and industrialization, it’s aggressive but also elegant, it’s the past colliding with an unknown future, it’s brutal but also practical, it’s imaginative but also coarse. Sounds like Shakespeare to me.</image:caption>
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      <image:title>Work - "The Miser," 2018</image:title>
      <image:caption>“The Miser” was an unapologetic riff on 80s consumerism, greed, glamour, and avarice. We fused MTV culture with Wall Street figures and commercial Easter eggs. Moliére lends him self to such self-deprecating introspection and satire.</image:caption>
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      <image:title>Work - "Elf," 2023</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work - Anne</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work</image:title>
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      <image:title>Work - "The Guys," 2014</image:title>
      <image:caption>On the morning of 9/11, William Basinski videoed the burning skyline of lower Manhattan from a Brooklyn rooftop. While he was trying to transfer previous tapes into digital format, they gradually deteriorated and became part of a series of albums entitled the Disintegration Loops. My design attempted to capture the skyline silhouette of 9/11 from his album cover to illustrate the fragility of “The Guys” through paper scraps ubiquitous to images from that horrible day. Now lost in time, those papers—created by dutiful office clerks, interns, and civilians—served as communal elements for the countless lives scattered into the winds, never to be recovered from the rubble of an American tragedy.</image:caption>
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  <url>
    <loc>https://www.stevewood.work/new-cover-page</loc>
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    <lastmod>2024-01-22</lastmod>
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      <image:title>Home</image:title>
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  <url>
    <loc>https://www.stevewood.work/about</loc>
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    <lastmod>2025-04-20</lastmod>
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      <image:title>About</image:title>
      <image:caption>Every theatre artist starts their journey with some moment of clarity: their passion, talent, and skill collides with opportunity. Some call this luck and fortune; others call this destiny. For me, when I designed my first set for BGSU’s traveling Treehouse Troupe in 2001, I knew exactly why I wanted a professional career in theatre. I understood that my purpose in life was to be a visual storyteller and that I was uniquely equipped to help others discover their stories in return. Each theatre experience is about expanding our collective mythology. What world(s) will we make together?</image:caption>
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      <image:title>About - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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