Angie He
PITTSBURGH, PA

The Afternoon Edition · FEATURE

TODAY

AI PRODUCT · UX/UI DESIGN · TEAM PROJECT

STAiGE

An AI-powered platform that helps teachers turn a lesson into a classroom play.

Field-tested at the Dalton School, New York

The director’s view: the script beat by beat on the left and the stage map with every character’s position on the right
The student prompter: Captain Newport, with an Excited emoji, and one big line in the character’s color, beside a small stage map
MY ROLE
UX/UI designer · Interface design and early research
TEAM
Angie He (UX/UI designer), Agnes (system designer), Ailun (3D artist), Tassi (programmer), Vivian (producer)
CLIENT
Rory O’Malley, actor and Tony Award nominee
MADE AT
Carnegie Mellon Entertainment Technology Center
TIMELINE
2026/08/25 — 2026/12/08 (in progress)
TOOLS
Figma, Claude, Unity
PROJECT WEBSITE
Visit the site ↗ (opens in a new tab)
TAGS
AI product designUX researchEdTech

IN PROGRESS · FALL 2026

01

Overview

Every teacher can put on a play

Our client, Rory O’Malley, is an actor and Tony Award nominee who brings theatre into his son’s classrooms to help kids learn. He wants every teacher to be able to do what he does. But most teachers don’t have theatre skills or experience, and don’t have time to learn.

STAiGE starts from what a teacher already has, her lesson, and turns it into a play her class can perform: a script, a stage map with movement cues, and show-day screens for her and her students.

Portrait of Rory O’Malley
Rory O’Malley, our client.

How might technology help teachers use drama in class, while keeping the creative, physical and collaborative nature of theatre?

THE THREE PILLARS · TEAM DESIGN LOGIC

  1. INPUT

    Educational grounding

    The teacher’s goals, content, required facts and classroom setup.

  2. AUTONOMY

    Flexible creative ownership

    The AI drafts the whole play, and the teacher can change or edit anything. Students can shape the play too, if the teacher turns that on.

    Rory O’Malley’s son loves writing but not performing. Writing, directing and design are all ways to take part in theatre, so teachers choose who creates what. See how teachers set this up

  3. OUTPUT

    Practical execution

    A script, show flow, editable stage maps and show-day screens.

02

Research

Designing for teachers with no theatre training

I did early-stage research on how to design the system so teachers can actually use it.

Literature review

Technology in theatre and drama education

Integrating Digital Technologies in Theatre/Drama Education

→ The teacher is the deciding factor; design for teacher creativity and confidence, and for schools with little to no tech budget.

Using Technology and Drama in Education to Enhance the Learning Process

→ The teacher is the deciding factor; design for teacher creativity and confidence, and for schools with little to no tech budget.

AI ethics and literacy for children and teachers

Fostering Responsible AI Literacy: A Systematic Review of K-12 AI Ethics Education

→ Give teachers an easy, visible way to reject or override an AI suggestion.

Rethinking Generative AI Literacy (K-12 teacher education)

→ Give teachers an easy, visible way to reject or override an AI suggestion.

Human-AI co-creativity

A Systematic Review of Artistic Human-AI Co-Creative Systems and Interaction Design

→ People collaborate best when they can always edit, reject or build on what the AI made; small cues, like a short “thinking” pause and color-coded status, build trust.

EXISTING PRODUCTS · REVIEWS

StageWrite on a laptop and a tablet: a script beside a stage plan with colored actor markers and movement paths
Screenshot: stagewritesoftware.com

StageWrite

Plan actors’ movement on a virtual stage.

→ A visual stage map beats a written note.

Kuraplan’s New unit plan screen: a grid of subjects to choose from, including Drama
Screenshot: kuraplan.com

Kuraplan

AI lesson plans for drama teachers.

→ “Type what you need, get a draft” is the right AI interaction for a busy teacher.

Offbook’s Check every line screen for a script of The Importance of Being Earnest
Screenshot: offbook app

Offbook

AI reads the other part so actors can practice lines.

→ AI as a simple scene partner.

What AI can and can’t do

From story to performance in five stages. AI drafts the first three: story (brainstorming), script (story to scenes to script) and scene (adapts to age, cast and time). Then the teacher takes over, and people perform the last two: stage (timing, movement) and performance (live performance).

So: AI drafts, people perform.

Real inputs: California grades 1–4 curriculum research and real grade 4–5 lesson plans (math, history), used to test the system.

DESIGN PRINCIPLETeachers remain in control. Everything the AI makes must be understandable and editable, never a black box.

03

Design

Four steps to a play

Agnes, our system designer, suggested what content and teacher inputs each screen needed. I designed the interface in Figma and iterated it through every round of testing.

ITERATION

From proof of concept to product

  1. Stage 1 · V1: does the system work?

    V1 Your lesson step: the lesson title, goals and facts in a plain early layout

    V1 · proof of concept

    I built the first version of the interface as a proof of concept. Our programmer implemented it in Unity, and testing with ETC faculty showed the AI could turn a lesson into a full play. Only then did we build the STAiGE brand into the interface.

  2. Stage 2 · Explore, then choose

    For each page of V2, I explored three to four low-fi directions before choosing one. I used Claude as a design tool to build the drafts quickly: I set the direction for each one (layout, hierarchy and content), then compared them, chose one and refined it into the final design.

    1. A

      The topic is typed like the title of a play, big and centered. The lesson plan drop zone sits beside it as a shortcut. Facts are a shelf of cards; the steps sit in a bar at the bottom.

    2. B

      Two big doors decide how you start: upload a lesson plan or type it in. Short inputs on the left, and a play brief on the right fills in as you go. Steps run down a rail on the left.

    3. C

      The whole step is one board of tiles in different sizes, like a teacher’s planning board. Facts are sticky notes; the steps are folder tabs on top, and Next is a tile of its own.

    4. D Chosen

      Everything lives in one folder with the steps as tabs. The topic is the play’s title, the lesson plan drop box sits on the right, facts are pinned below, and Next is its own dark tile.

    Why I chose D

    1. The first thing to do is obvious.From A, D keeps the topic as the play’s title, in big type on a line. A teacher sees right away that this is the one thing to fill in, and it feels like starting a play, not filling in a form.
    2. Every input has its own place.From C, D puts each part in its own card: the topic and goal, the lesson plan, the facts. Required and optional are clearly marked, so the page stays organized instead of one long form.
    3. Teachers always know where they are.C’s folder tabs keep all four steps visible at the top. A hid them in a bottom bar, and B used a side rail that takes space from the inputs.
    4. The next step is unmistakable.Next is its own dark tile, the strongest element on the page, so finishing a step never gets lost among the inputs.
    5. It’s less to take in at once.B asked teachers to choose how to start and showed every field plus a live brief together. D shows fewer elements, so a teacher with little time isn’t overwhelmed.
    6. It fits the school setting.The folder look matches the academic context and became the frame for every page of V2.
  3. Stage 3 · V2: make it STAiGE

    • A clear input hierarchy: each input sits in its own card, marked required or optional, so teachers know where to type, what’s required and what isn’t, and aren’t overwhelmed by everything at once.

    • Folder tabs for the four steps, matching the school setting.

    • Animal Next buttons: Agnes drew the five characters; I designed their final look in the interface and turned them into the Next buttons, so each step has a friendly, recognizable way forward.

    V2 Your lesson step: folder tabs, cards for each input marked required or optional, and the whale Next button
    V1 Your lesson step

    Animal characters drawn by Agnes; I designed their final look and turned them into the Next buttons.

  4. Feedback → change · Who creates what

    V2 Teams step: Characters, Story and Design cards with only a student count each
    V1 Teams step with three Who creates it? sliders: AI creates it, AI helps, Class creates it
    Before (V1)
    Each team had a “Who creates it?” slider: AI creates it / AI helps / Class creates it.
    What we saw
    Faculty and students who playtested it found the sliders confusing, and they sometimes made AI generation crash.
    After (V2)
    We removed the sliders. The AI drafts the play, and the teacher has full control to change or edit anything, so there’s no need to choose who leads. Teachers only set how many students join each team.

DECISION 1

A four-step setup

From her home page, a teacher clicks Start a new play and answers four steps: her lesson, her class, who creates what, and a quick review. One click, and the play is ready.

Step 1, Your lesson: the lesson title, the goals and a row of facts the play must include, with the whale Next button

Step 1 of 4 · Her lesson: the goals, the content and the facts the play must include.

Why: keeps setup clear and not overwhelming for teachers with little time.

What the teacher gets

  • STAiGE Play overview screen: the play title card “Across the sea, we build a home”, six beat cards in three acts, the cast with a character relationship map, and the setup with team sizes and props
  • STAiGE Script screen: tabs for the six beats, and beat 1 “The shore of everything unknown” with every line listed by character, beside a small stage map for each beat
  • STAiGE Show flow screen: beat cards across the top, a 3D stage map showing where each character stands in beat 3, and a “What happens here” panel
  • STAiGE director’s view: the script for beat 3 with action cues on the left and the stage map with every character’s position on the rightSTAiGE student prompter: Captain Newport, Excited, and one big line in the character’s color, beside a small stage map
STAiGE Play overview screen: the play title card “Across the sea, we build a home”, six beat cards in three acts, the cast with a character relationship map, and the setup with team sizes and props

DECISION 2

Two screens, two jobs

The director’s view: the script beat by beat and the stage map with action cues

The director’s view holds everything the teacher needs to run the show: all the action cues and an overview of every beat’s lines, so she can see the whole play and control it at a glance.

Why: in our school visits in Pittsburgh, we confirmed every classroom has at least two screens, the teacher’s laptop and a projector, so the split needs no new equipment.

DECISION 3

An emoji expression on every line

Each line in the student view carries an emoji showing the emotion, from a set of 13 expressions.

How does your character feel?

  • Happy
  • Excited
  • Brave
  • Proud
  • Calm
  • Curious
  • Surprised
  • Worried
  • Scared
  • Sad
  • Angry
  • Silly
  • Tired

Design rule for the set (from my Figma sheet): one face per line, big shapes, one clear clue each, readable from across the room.

A line from the student prompter: Captain Newport, Excited, Welcome to the New World, colonists! Sing with me, like we did on the ship.
One real line from the student prompter.

Why: students who aren’t actors can see how to say the line, not just what to say.

Evidence: at Dalton, students said the emoji on each line told them how to act it.

DECISION 4

A tour for the first visit

Tour on the Your lesson step, 1 of 11: a callout points to the lesson title field, with Back, Next and Skip tour
Setup · step 1 of 11

Screen 1 of 2: Setup, step 1 of 11

The first time a teacher starts a play, a short guided tour (11 steps through setup, 5 through the play pages) points to each input and each menu, with “1 of 11”, Back/Next and Skip tour.

Why: so teachers know where to type and where the menus are, and don’t get lost the first time.

The stage map, three versions

  1. Low-fiSimple low-poly girl and boy models, no grid, no wings.
  2. The second stage map: animal game pieces on an orange 3D stage, with green and red wings

    Animal game pieces that match our animal characters, after a playtest with a younger learner showed visuals affect how comfortable kids feel.

  3. The final stage map: a grid, audience seating, left and right wings, animal game pieces, movement cues and on/off-stage indicators

    After the mid-semester faculty review: feet instead of meters, a grid, audience seating, left and right wings, clearer animal game pieces, movement cues and on/off-stage indicators.

Stage map by Ailun, our 3D artist.

04

Testing

Feedback shaped STAiGE

Mid-semester faculty review and playtest feedback → my UI fixes

  1. PROBLEMClickable and non-clickable elements looked the same

    FIXclearer visual distinction

  2. PROBLEMLong pages hid content

    FIXscrolling cues

  3. PROBLEM“Optional” looked like a button, and the character page was hard to understand

    FIXsimpler hierarchy and labels

  4. PROBLEMTeachers had to read the full script to understand the play

    FIXa high-level story overview first

  5. PROBLEMToo many options

    FIXremoved the option to make the play a musical, and simplified several elements

School visits and Playtest Day

SCHOOL VISITS · PITTSBURGH

Huston Middle School and Bon Air Elementary. Teachers who tested the demo found it user friendly; both schools offered classroom trials.

Classroom limits we learned: older equipment, frequent projector shutdowns, little craft material.

CARNEGIE MELLON ETC PLAYTEST DAY · OCT 31

Playtesters responded positively to the UI and visual design and found the workflow and guidance clear.

Issues: generation took about 3 minutes, with two failures.

Field test · Dalton School, New York

The brick front of the Dalton School building in New York, with arched doors
The Dalton School, New York.

Dalton teacher Rory Boyd (no relation to our client, Rory O’Malley) brought his grade 7 class to perform a play about the Gilded Age. The class had only watched one video about it.

From his lesson plan and facts, STAiGE generated “The Telegram at the Curb”: 6 beats, 72 lines, about 15 minutes, set in New York in 1890.

With no rehearsal, the class performed the whole play. Mr. Boyd directed from the director’s screen; students read from the prompter and followed the stage map for where to stand and move. Nobody struggled with the interface.

Learning goal met: asked afterwards what they learned, students could point out facts about the Gilded Age and its people from performing the play.

“It was a huge surprise to our whole team how well it went.”

FROM THE GENERATED SCRIPT · OPENING NARRATION

NARRATOR: New York City, 1890: the Gilded Age. Fine homes and crowded tenements share one busy city. The street smells of coal smoke and horses.

Read the full script (PDF) (opens in a new tab)

WHAT THE STUDENTS ASKED FOR

  • Real names for every character, not “Worker A / B”, even small parts.
  • A bigger stage map in the prompter view.
  • Camera shifts that follow character movement.
  • What they loved: the emoji on each line told them how to act it.

05

Outcome

Next, before December 8

IN PROGRESS

  • Adding the Dalton students’ feedback.
  • Implementing every UI screen in Unity.
  • Minor UI refinements.
Demo coming soon

DEMO

STAiGE

The Team

Angie He
UX/UI designer
Agnes
System designer
Ailun
3D artist
Tassi
Programmer
Vivian
Producer

Animal characters designed by Agnes; final 2D cutouts drawn by Angie He. Stage map by Ailun.

Draft A

Low-fi draft A of Your lesson: the topic set big and centered like a play title, a lesson plan drop zone beside it, a shelf of fact cards, and the steps in a bar at the bottom