PA Counseling Services, 2012-2014
This studio set was designed with two distinct factors in mind: First, the client’s desire to recreate the realistic interior of a tudor castle, and second, the need to package and ship the entire castle environment to multiple studio locations. This set was expanded three times over the course of three years; to view pictures of its earlier occurrences, please visit the archive page. Also, check out these video links:
-Set Construction Timelapse
With Eaglestone Mountain Productions
Totem Pole Playhouse
Our primary design challenge for Totem Pole Playhouse’s production of Forever Plaid was to create the feeling of a 1950’s lounge while maintaining a disciplined balance between organic and glitzy. Additionally, the show itself demands a “magical” transition during which the stage turns plaid. We met the first challenge with a little inspiration from music lounges of the 1950’s (particular the facade at the Sands…). The second challenge was met with a series of glittered blue squares--a reinvention of a similar trick we used for another production of Plaid in Norfolk almost 20 years ago. Directed by Christine O’Grady, Artistic Director Rowan Joseph.
Portraits of White Concert
(Rose Lehrman Arts Center)
When singer/songwriter Frances Drost first approached us about creating a background for her winter concert, the commanding image was ice. With a very limited load-in time, however (2 hours), we knew we would have to adhere to the old adage, “keep it simple, stupid.” We did. Using little more than wax paper and projection goo, we manufactured 1000 “ice tiles” which were hung upstage of Frances' live orchestra. Many thanks to Laurie Friedlander of the Rose Lehrman Arts Center who lit our ice tiles to reflect the many moods of Frances music.
Taming of the Shrew
Messiah College School of the Arts
Strongly influenced by Pop Art, this production of Shakespeare’s controversial comedy emphasized the interplay between the Bard’s characters over and above his literary structure and social inferences. As a result, the set’s architectural elements were neutralized with a harsh wash of white, creating a clean canvas upon which to “paint” shockingly colorful scenes and characters.
Produced by Messiah College Department of Theatre and Dance
Lighting Design by Tymberely Whitesel
Boy with a Cart
A Boom Creative Production
Frankly, most of Sir Christopher Fry’s play scripts require very little in the way of formal scenery. His poetry does the work of creating atmospheres. With this in mind, we approached this production with restraint, seeking only to establish the play’s central theme visually: The innate desire of every root to eventually touch the sky. We chose a ladder as our central image, a metaphor for the root’s climb upwards. It also served our blocking and movement in some interesting ways. The backdrop is made of burlap—remnants from a previous BOOM! installation. Special thanks to WITF’s Cary Burkett for joining our cast in this special production (for more on the production go to boywithacart.weebly.com).
Messiah College Opera
The scene design for this award-winning production of Menotti’s signature opera was created with a series of black scrims distorted with heavy manilla rope and antiquie tackle. Actors interacted with these ephemeral backdrops by manipulating ropes and pulleys during the dramatic action, which served to accnetuate the opera's dominant themes.
Directed by Damian Savarino
This production won 1st place in Division 1 of the National Opera Association's 2014 Opera Production Competition.
Messiah College Dept. of Theatre and Dance 2013
In keeping with the tired and neglected circus style of this production, the prominent design elements and carnival motifs seen here were created with a patchwork style and then distressed with a series of glazes. The design concept itself was born from a phrase in the original Job account--the Lord giveth and the Lord taketh away--which inspired an intricate rigging system in the loft of the black box. This system was operated by a company of roustabouts who hoisted the scenery, props and even costumes in and out of the playing area.
Directed by Valerie Flower
This production won an award for Extraordinary Achievement (design), Kennedy Center ACTF