Showing posts with label set design. Show all posts
Showing posts with label set design. Show all posts
The Demon Bridegroom
Here are pictures of the set pieces I built last summer (2008) for Andrea Dezsö's stop-motion film The Demon Bridegroom.
Crave
Photos from my domestic horror puppet show "Crave"
"Crave" is the story of Antonia, a lonely woman who lives with her cat, and holds signs for a living. On her birthday, she finds a painting in a dumpster, which she hangs on her wall. Overnight, the leftovers in her fridge have disappeared. Perturbed, she goes to work. When she returns she finds a giant mess spilling from the fridge. She admonishes the cat, but soon notices that the figure in the painting has grown fatter. Not to mention the fact that she is holding a piece of cake in her lap. Terrified, she tries in vain to pry the painting off the wall, however it remains stuck.
Determined to protect her food, Antonia chains the fridge door closed, and falls asleep, hatchet in hand, as she watches her favorite television show "As Lovers, As Cousins".
A sudden feline squeal wakes her, and she discovers to her horror that her poor cat is trapped inside the painting! In a frantic effort to save the cat, she sinks the hatchet into the painting. The hatchet sinks into the canvas, gets stuck, quivers for a moment before being spit back out and hitting Antonia in the head. From the painting pours a stream of bile (we mixed beef ragout, and clam chowder for this... the audience got both a visual and olfactory experience!) slowly drowning Antonia in a sea of vomit.
Thus is the charming conclusion to "Crave".
Performed by myself, Emma McCumber, and Eric Ugland, with Katie O'Sullivan as the Spirit of the Painting.
Photos by Dan Bretl.
"Crave" is the story of Antonia, a lonely woman who lives with her cat, and holds signs for a living. On her birthday, she finds a painting in a dumpster, which she hangs on her wall. Overnight, the leftovers in her fridge have disappeared. Perturbed, she goes to work. When she returns she finds a giant mess spilling from the fridge. She admonishes the cat, but soon notices that the figure in the painting has grown fatter. Not to mention the fact that she is holding a piece of cake in her lap. Terrified, she tries in vain to pry the painting off the wall, however it remains stuck.
Determined to protect her food, Antonia chains the fridge door closed, and falls asleep, hatchet in hand, as she watches her favorite television show "As Lovers, As Cousins".
A sudden feline squeal wakes her, and she discovers to her horror that her poor cat is trapped inside the painting! In a frantic effort to save the cat, she sinks the hatchet into the painting. The hatchet sinks into the canvas, gets stuck, quivers for a moment before being spit back out and hitting Antonia in the head. From the painting pours a stream of bile (we mixed beef ragout, and clam chowder for this... the audience got both a visual and olfactory experience!) slowly drowning Antonia in a sea of vomit.
Thus is the charming conclusion to "Crave".
Performed by myself, Emma McCumber, and Eric Ugland, with Katie O'Sullivan as the Spirit of the Painting.
Photos by Dan Bretl.
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Anon(ymous)
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Anon(ymous)
by Naomi Iizuka
Directed by Dylan Levers
The Downstage Theatre Project
Sarah Lawrence College
November 2005
Lighting Design by Jennifer Smith
Costume Design by Tracy Klein
Arsenic and Old Lace Backdrops
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Photoshop Composite for 13' x 22' backdrop.
Arsenic and Old Lace
Alley Theatre
Houston, TX
Created during internship with Hugh Landwehr
Review for Brick by Brick
Excerpts from the Sadie Lou Standard Volume 1, Issue XXIV - April 30, 2007
"With the beautiful set, lighting, costuming, and very catchy tunes, it is easy to be transported to Wade's wild world of Poe."
"The look of the musical was enhanced by lighting designer Lauren Parrish, and the set designer, Gabriel Aronson. There was a perfect synthesis between the [costumes, lights and set] helping to complement each other, but not overshadowing any of them. The set and lighting were a crucial part in creating the correct Tim Burton-esque world."
"The look of the musical was enhanced by lighting designer Lauren Parrish, and the set designer, Gabriel Aronson. There was a perfect synthesis between the [costumes, lights and set] helping to complement each other, but not overshadowing any of them. The set and lighting were a crucial part in creating the correct Tim Burton-esque world."
Brick by Brick
BRICK BY BRICK
Book and Lyrics by Ross Wade
Music by Nehemiah Luckett
Based on Works by Edgar Allen Poe
Directed by Leyla Ebtehadj.
It is so hard to filter out the best from a pool of over 200 photos...
Berenice Dupin (Amanda Kruger) clues in the bumbling Corbeau police (Colin Sutherland, Nick Sansone, Tom Hathaway).
Leonard LePage (Winston Shaw) is not pleased with his drunkard agent, Otto Fortunato (Omen Sade). "Your Toast"
Rowena Tremaine (Erica Steiner) checks in with her husband at the Maison de Santé, whilst the doctors have a Mad Tea Party.
Nurses Salsafette (Elspeth Shell-Moyer) and Joyeuse (Maya Murphy) re-enact Lenore's tragic death.
Leonard LePage sings a duet with his dead wife, Lenore (Liana Stillman) "Skin to Skin"
Leonard's new agent Roderick Raven (Owen Scott) and Leonard, did not think much of Otto Fortunato.
...so they Brick him up inside a crypt. "Brick by Brick"
Raven tells Leonard to make an executive decision. "Two Heads Are Better Than Three"
Madame Maillard ("Maggie Robinson") looks on as her staff cart Dupin away on their ARPD (Amazing Rolling Platform of Death)
The cast tells the audience that "Everyman's A Madman" in the end.
Lighting Design by Lauren Parrish
Costume Design by Candice Knox
Book and Lyrics by Ross Wade
Music by Nehemiah Luckett
Based on Works by Edgar Allen Poe
Directed by Leyla Ebtehadj.
It is so hard to filter out the best from a pool of over 200 photos...
Berenice Dupin (Amanda Kruger) clues in the bumbling Corbeau police (Colin Sutherland, Nick Sansone, Tom Hathaway).
Leonard LePage (Winston Shaw) is not pleased with his drunkard agent, Otto Fortunato (Omen Sade). "Your Toast"
Rowena Tremaine (Erica Steiner) checks in with her husband at the Maison de Santé, whilst the doctors have a Mad Tea Party.
Nurses Salsafette (Elspeth Shell-Moyer) and Joyeuse (Maya Murphy) re-enact Lenore's tragic death.
Leonard LePage sings a duet with his dead wife, Lenore (Liana Stillman) "Skin to Skin"
Leonard's new agent Roderick Raven (Owen Scott) and Leonard, did not think much of Otto Fortunato.
...so they Brick him up inside a crypt. "Brick by Brick"
Raven tells Leonard to make an executive decision. "Two Heads Are Better Than Three"
Madame Maillard ("Maggie Robinson") looks on as her staff cart Dupin away on their ARPD (Amazing Rolling Platform of Death)
The cast tells the audience that "Everyman's A Madman" in the end.
Lighting Design by Lauren Parrish
Costume Design by Candice Knox
Construction for "Brick by Brick"
Here are several photos of the "Brick by Brick" set in mid-construction. The portrait will be mounted on the staircase banister, and it opens up like a door. There will be a scrim suspended directly behind the angled bannister to create a false wall.
Tales of Hoffmann - Colour Study
Tales of Hoffmann by Jacques Offenbach
Colour study for Olympia Act
February 2007
Tales of Hoffmann - White Model
Tales of Hoffmann by Jacques Offenbach
Conceptual White Model for Olympia Act
February, 2007
I have since changed my concept to make the layout more asymmetrical, as well as less busy, along the lines of what can be seen in the "Colour study" entry.
Hoplite Diary Shadow-box
Hoplite Diary
created by Tom Lee
When Tom Lee brought his puppet piece Hoplite Diary to Sarah Lawrence, he needed a particular set piece to be redesigned. This piece was used in a shadow-puppet segment, representing the city of Troy.
The Importance of Being Earnest
The Importance of Being Earnest
by Oscar Wilde
Downstage Theatre at Sarah Lawrence College
April 2006
Act I - Algernon's townhouse
The red brocade curtains conceal the set for Act III, while the reverse sides of the panels act as the bay window in Act II.
Act II - The garden at the country house
The ferns were borrowed from the Sarah Lawrence Greenhouse. The landscaper was only too willing to let us borrow them, and helped in their selection. According to her, these types of "exotic" trees were very popular in English Gardens of the time. The panels that make up the bay window conceal the furniture for Act III.
Act III - John Worthing's country house
John Worthing is obviously less extravagant in his aesthetic taste than Algernon. I felt the brighter colors mirrored the location in the sunny countryside. The green curtains conceal the set of Act I. The symmetry of the panel placement is intended to complement the final tableau of all the lovers side by side, with Lady Bracknell at center stage.
by Oscar Wilde
Downstage Theatre at Sarah Lawrence College
April 2006
Act I - Algernon's townhouse
The red brocade curtains conceal the set for Act III, while the reverse sides of the panels act as the bay window in Act II.
Act II - The garden at the country house
The ferns were borrowed from the Sarah Lawrence Greenhouse. The landscaper was only too willing to let us borrow them, and helped in their selection. According to her, these types of "exotic" trees were very popular in English Gardens of the time. The panels that make up the bay window conceal the furniture for Act III.
Act III - John Worthing's country house
John Worthing is obviously less extravagant in his aesthetic taste than Algernon. I felt the brighter colors mirrored the location in the sunny countryside. The green curtains conceal the set of Act I. The symmetry of the panel placement is intended to complement the final tableau of all the lovers side by side, with Lady Bracknell at center stage.
Kosinki's Bag
Kosinski's Bag
by Doug MacHugh
Frances Ann Cannon Workshop Theater
at Sarah Lawrence College
Co-designed with Nao Otaka
Doug MacHugh's play centered around his experiences in El Salvador during the turmoil of the 1970s. The projection surface was made to look like revolutionary slogans, painted over by the authorities.
After Hours Play Festival
Downstage's After Hours
December 2005
A festival of student-written one act plays. The set was composed of moveable panels. The producer wanted to create a nightclub atmosphere so I went with a color scheme of red and black. The splattering of red hinted at the macabre themes that were present in all the plays.