Stephen Gifford 00F’s Studio Reimagines Blue Man Group’s Visuals Nationwide

The partnership has resulted in upgraded onscreen media that enhance the show’s signature mix of humor, science, and art. Fifty new LED screens have been installed in theaters in Boston and Las Vegas. With Blue Man Group closing its historic run of the New York City and Chicago shows, the launch of a new large-scale show in Orlando signals a new era. 

“We’ve created new and exciting content that will take audiences on a gorgeous abstract ride,” says Gifford. “From the very beginning, we clicked with the amazing team at Blue Man . . . it’s been a dream come true and proved to be a great match for the level of depth of creative choices we enjoy, working together in a highly collaborative environment, the result of which is incredibly fun and special.”

For the last 30 years, Blue Man Group has been pushing artistic boundaries, retooling its show to connect with audiences in new ways. “Creative technology is exploding, and there’s so much opportunity for in-person storytelling to reach beyond expectation,” says Gifford.

The updated show features a combination of rendered media, real-time generated visuals, 3D depth cameras, and live video feeds, enabling the Blue Men themselves to become part of the evolving visuals in every performance. This new level of interactivity creates a dynamic experience unique to each show.

We caught up with Gifford to discuss his Hampshire experience and his brand of storytelling. 

What drew you to Hampshire?

Of all the schools I visited, Hampshire felt the most real to me. It seemed like a place where I could have an idea and go after it, rather than falling in line and getting lost in a larger system. I liked the idea of being able to audit classes and have direct dialogue with professors. There’s a simplicity to the system at Hampshire that was refreshing and I felt like I could control my destiny. And I did. 

“That’s something I really love about Hampshire — the ability to make things, no matter what level you’re at, and the willingness of the community to support you in your growth.”

What did you study? Did that evolve during your time at the College?

I studied anything and everything I could. Arts and sciences. I looked for challenges, tried to master things I was the worst at, tried all aspects of film and any art form I could fit into my schedule: theater, video, sculpture, computer music, special effects, photography, film flatbed editing, performance art, live event producing, film and art history, and so on. And that’s something I really love about Hampshire — the ability to make things, no matter what level you’re at, and the willingness of the community to support you in your growth. 

I made a lot of terrible, awful work and also some incredible work that I was really proud of and still watch with a smile. I started out wanting to make movies and ended wanting to just tell stories in a variety of mediums. After graduation, that helped me build a career while being able to speak a lot of languages in the creative world. And now I run a studio that’s at the intersection of many of those interests. So to those students out there reading, find your voice and follow your interests! 

How is Pretty Damn Sweet navigating the evolving landscape of media and storytelling?

It's a funny time right now. The creative media industry is in a state of transformation — television, film, theater, and advertising are all evolving rapidly. Technology is reshaping how we tell stories, market to audiences, and meet their changing expectations. I feel very fortunate that our team at Pretty Damn Sweet has been embracing this shift for years. As an immersive content studio, we’re able to blend cutting-edge technology with storytelling, not following trends that will quickly die out, but instead creating tools and techniques to breathe new life into traditional mediums.