SHAWN KIM


Is God Is



February 12 – 20, 2026
Ensemble Theater
24700 McBean Pkwy, Valencia, CA 91355

Written by | Aleshea Harris
Director | Tramaine Raphael Gray
Scenic Designer | Jamie Hwang
Lighting Designer | Kyle Ryan
Costume Designer | Odessa Newman
Sound Designer | Rebecca Kessin
Video Designer | Quinn Matthews
Fight Coordinator | Ed Monaghan
Fight Captain | Miriam Randolph
Intimacy Coordinator | Emily Barasch
Technical Director | Luc Allison
Prop Manager | Patrick Smith
Head Electrician | Gerardo Quintana Bernal
Graphic Designer | Elani Coffee
Producer | Lana Cash
Production Manager | Jefferey Teeter
Associate Production Manager | Isabel Peña
Production Stage Manager | Mia Condon
Stage Manager | Noelle McEwen
Assistant Stage Manager | Cherin Kim
Assistant Director | Shyteek McLeod
Assistant Scenic Designer | Possum Harris
Assistant Technical Director | Logan Masters
Assistant Lighting Designer | Clay Pisto
Assistant Costume Designer | Katherine Chen
Assistant Sound Designer | Yiting Han
Assistant Video Designer / Video Technician | Sangwan Shawn Kim
Element Supervisor | Eric Leary
Carpenter | Amara Parker
Lighting Programmer | Jackson Kershner
SFX Makeup Designer | Martin Pasternak
Assistant SFX Makeup Artists | Rosie Hoxie, Yelena Semas
Hairstylist for SHE and MAN | Amber Jones
Hairstylist for ANGIE | Krisheena Pettis
Nail Artist | Ivy Pellerin
 Is God Is is a modern myth following twin sisters Racine and Anaia, who receive a letter from the mother they believed to be dead and set out from the Dirty South to the California desert to enact righteous revenge. The production unfolds as a violent, mythic road journey, moving through emotional extremity, scorched landscapes, and heightened theatricality.

The video design employed four live cameras installed onstage, transmitting each scene from multiple angles onto a pyramid structure. Making full use of the production’s bi-directional staging, the live stream revealed viewpoints inaccessible to portions of the audience, extending the visual field beyond direct sightlines and intensifying immersion. Through this arrangement, video functioned not as supplemental imagery but as an active spatial device, exposing hidden perspectives and amplifying the work’s cinematic, unstable, and psychologically charged atmosphere.

As a video technician, I collaborated with the technical director and scenic designer before load-in through projection previsualization simulations to identify the most effective projector hanging positions, reducing unnecessary setup and streamlining installation labor. I also optimized the wireless camera signal workflow, helping establish a stable live-camera system with uninterrupted transmission throughout the production.




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