Bekah came to No Nude Men through Kendra Arimoto, who first joined the company for 2005's Pheadra. As luck would have it, the concept of the show, staged in a room with the audience on two sides, was one of mirros and candlelight, an aesthetic Bekah had long dreamed of designing an entire show around, so when I casually asked her to get involved I couldn't have picked a better person to rope into our production. Combining candles, mirros and the subtlest of stage lighting, Bekah was able to build at atmosphere so thick you could swim in it, in a space so small most designers would have been hard press to do anything other than shine lights where they needed to be. Bekah did so much more, accentuating the candlelight with yellows and ambers while still preserving the sense of darkness and shadows which permeated the show and our concept of the house where the events of the play took place. She next joined us to design the lights for Love's Labors Lost, this time providing illumination on an epic scale that included three dance scenes punctuated by lighting trick after lighting trick after lighting trick, often times perfectly framing and accompanying the music and choreography to become a dance of its own. The general scheme for the bar where LLL took place was an impressive accomplishment on its own, with the somewhat vacuous stage of the Exit made to look softer and more intimate, like the back-alley watering hole it was meant to be, and our fourth act taking place entirely in the audience under a mix of house washes and specially focused spotlights rigged to show off the actors without blinding the spectators. The truly amazing thing is that Bekah's talents don't stop with lighting. An accomplished designer (credits include productions of Othello, Romeo and Juliet, As You Like It, The Real World: Stanford, Insult to Injury, Son of an Engineer, The Fantasticks, Phantom, Top Girls and Crossroads) and the recipient of the Douglas Russell Award for Design, Bekah's other passion lay in playwriting, and just a few weeks after Phaedra closed she finished her degree in Drama from Standford with a reading of her latest work. By that time calls were already coming in from around the Bay Area by productions looking to snatch her up for one talent or another, and deservedly so: artists of her caliber and professionalism are rare indeed and an asset to any company lucky enough to have her work with them.