Drishti Chauhan is an Indian production designer based in NYC interested in working on funny, queer and feminist stories. A recent MFA graduate from the University of Massachusetts, Amherst, she is currently working on the WAM/CST production of Galileo’s Daughter as an apprentice to Scenic Designer Qingan Zhang. As we head into rehearsal, we took some time to ask her a few questions and to showcase her past designs.
Where are you from, and what drew you towards design?
I am originally from Jaipur, India, a city known for its bazaars, forts, temples, palaces, and wildlife sanctuaries, a place rich in artistry and architectural history, which first sparked my curiosity about design. However, what truly draws me toward design is how it feels like solving a puzzle. You’re given limitations—whether it’s space, materials, or budget—and then there’s your wildest, most creative ideas. The challenge and excitement lie in finding the balance between the two, making them work harmoniously together.
Twelfth Night by Shakespeare, University of Massachusetts 2024, photo credit: Derek Fowles.
What do you like best about scenic design?
My favorite aspect of scenic design is its ability to enhance storytelling by providing context and atmosphere. Scenic design can range from being a historically accurate representation of a space to a more abstract or symbolic interpretation that evokes specific emotions or themes. I love how it allows me to visually interpret a story, whether through detailed realism or by selectively highlighting elements that convey the essence of a scene. Scenic design doesn’t just set the stage—it deepens the narrative, helping the audience connect with the story on a more immersive and emotional level.
What are you learning from your apprenticeship at WAM? / What is interesting to you about the scenography of Galileo’s Daughter?
Galileo’s Daughter is an exceptionally fast-paced play that spans multiple locations and timelines, featuring three actors who portray around twenty different characters. The play’s complexity is further heightened by the numerous props essential for advancing the narrative. Designing for such a production is undoubtedly challenging, but what excites me about it is the opportunity to approach the scenography in a more abstract, symbolic, and evocative manner. Rather than focusing solely on historical and architectural accuracy, this play allows for creative freedom to craft a set that enhances the storytelling through imaginative and interpretive design elements.
Orlando by Sarah Ruhl (based on the novel by Virginia Woolf), University of Massachusetts 2022, photo credit: Derek Fowles
What would be your dream performance to design in the future?
In the future, I would love to design for a variety of storytelling forms, including opera, immersive experiences, and window displays. Each of these mediums offers unique opportunities to explore and push the boundaries of design.
Designing for opera excites me because of its grand scale and the potential for creating dramatic, large-scale environments that enhance the musical and emotional impact of the performance. Immersive design intrigues me for its ability to engage audiences in a multi-sensory experience, where the boundaries between the audience and the performance blur, creating a more personal and interactive connection. Additionally, designing window displays offers a creative challenge in visual storytelling within a confined space, capturing attention and conveying narratives through innovative and eye-catching designs.
Each of these areas presents distinct challenges and creative possibilities, and I am enthusiastic about the prospect of exploring these diverse forms of storytelling to craft unique and memorable experiences.
More information about Drishti Chauhan can be found at: drishtichauhandesign.com
Tickets for Galileo’s Daughter are on sale now!
WAM Theatre’s BIPOC Apprenticeship Program is supported by the Brabson Family Foundation.