Projections Workshop at The Banff Centre, March 2014



Playwright Jennifer Haley and director Matt M. Morrow head back to Banff to build out the rest of the projection design with Caden Manson of Big Art Group and programmer Elijah Lindenberger. View some of the work!

Media Workshop at The Banff Centre, June 2012



Jen and Matt work with media artists to develop a visual language for the play as part of The Banff Centre's I.D.E.A. project (Interaction, Design, Experience, and Audience). Video designer Bob Bonniol jumped in for this leg of development to get us started on projecting visuals. Owen Brierley constructed actor-responsive 3D graphics for the video game world using a Unity gaming engine. Visit Owen's I.D.E.A. blog.

Interactive Workshop at 3LD, June 2013



Interactive Designer, Owen Brierley, establishes broad design choices and functionality for the four game environments in the play. The workshop is hosted by 3-Legged Dog in New York City. Visit Owen's workshop blog.

Jen's POV:

When I sat down to write FROGGY, all I knew is I wanted to write a play "in the style of a graphic novel." However, I had no idea what that meant. I holed up in my barn studio at the Millay Colony with several graphic novels, opened my copy of In Design, a publishing program, and started writing a cartoon-looking piece using voiceovers and images. I was also influenced by the noir aspect of many graphic novels; the brooding quality, deeply psychological journey of the characters and chiarascuro illustrations influenced my story. Freed from the conventions of dialogue-driven narrative and single-scene action, I was able to free associate, and found myself developing a narrative of psychological connectivity. All kinds of themes rose to the surface during Froggy's search for her ex-lover - addiction, consumerism, warfare - in a way I sensed was uniquely American. However, after completing the first draft, I had no idea how it would function as a theater piece. Enter Matt...

Matt's POV:

When I first read FROGGY I was immediately sucked in, connecting to it on a purely visceral level. The challenge as a director was clear: how could I conceptualize this story in a way that allows the audience to experience the alchemy of Froggy's journey through her mind, her history, and the literal adventure she embarks on to find her lost love. Ultimately, to find a way to represent the show in space for developmental purposes, I conceived three worlds within the larger Noir world of the play: Froggy's Fantasy World, her Memory World and the parallel universe of the Videogame World. Each of these worlds are represented inside the panels on the page; everything outside the panels is in the real time of the Noir World. This concept allowed us to look at narrative in a more cogent way, and help develop musical and visual styles that are integral to any story told by way of a graphic noir novel. What excites me most about FROGGY is that it is brand-spanking new; it's experimental in form, but it's core story is one we can all recognize as a part of our own lives as Americans and lovers.

Nathan's POV:

My challenge when developing music for FROGGY was to find a sound that was both contemporary and traditional. I started with a few key melodies, then experimented with them in different genres. Like Matt developing different spacial worlds for the play, I developed different aural worlds. There is the Noir Theme, which is modern and brooding, the Video Game Theme, which includes sounds from 8-bit video games, and the Memory Music, which features a traditional fiddle. The Flashy Intro required a sound akin to the opening credits of a television show from the 1970s, so I used the music of Henry Mancini as an inspiration. The melodies come back through all of these themes and genres, unifying the overall soundtrack.