Scenic elements

The Piano Lesson

Alliance Theatre, 1992

Marjorie Bradley Kellogg designer

These 6 of 8 or 9 are the pieces that I either executed or finished for this show.  Styled after African tribal masks, they represented the spirits of the ancestors of the characters in the play.

They're painted foam.

Scrooge's headstone for:

A Christmas Carol,

Virginia Stage Company, 1996 Dex Edwards designer.

The conceit was that this telling of the story was overtly theatrical; the headstone is on an old-fashioned Broadway flat, so that it appeared in the production as a heavy piece of stone, but would float softly as it fell toward a cowering Scrooge.

Linstock prop for:

Henry V

The Shakespeare Theatre of New Jersey, 2007,

Michael Schweikardt scenic designer of record;

prop concept: properties master Christina Gould and 

Jake Wood; execution: Jake. 

The request was for linstock that appeared to be alight as it was passed from actor to actor during the action on stage.

During really old-times, the linstock was a slow match on a long handle, used to light off field artillery.

This one is put together with parts from a lamp, some cotton rope, and LEDs from a Halloween special light-up "jack-o-lantern" from Target.

Full set:

The Time Of Your Life

The Shakespeare Theatre of New Jersey, 2007,

James Wolk designer.

Yes, boasting here: I painted everything you can see.  Except for the furniture and props.  Right?  Right, I didn't paint any props on this one.  I was busy.

O.K., my sister helped on this one, too. 

There other side of the bar is also pictured here:

The Hotel Room

Backdrop for Private Lives:

The Shakespeare Theater of New Jersey, 2008,

James Wolk, Designer

In Progress:

Around The World In 80 Days,

The Shakespeare Theatre of New Jersey, 2009

Michael Schweikardt, Designer.

Build a prop canon with only stuff you can find around the shop, 'cause the budget won't support much more purchasing!

PVC pipe, foam, felt, piping, plywood, scrap steel - yeah like that!

Top: "the artist at work."

and Below: the barrel finished, the carriage only awaiting color.

The knobby thing projecting off the breech-end of the barrel is called a cascabel.  No kidding, it's a part with a name.  I used a door knob.

In progress:

The School for Wives,

The Shakespeare Theatre of New Jersey, 2009,              John Hobie designer.

There were a lot of foliage pieces on this: the design was an adaptation of the old wing-and-drop style, so we painted a lot of leafy-ness. 

Note the fan behind me: it's running not to dry the paint, but because it was very summer and very hot in the shop, even at what-ever hour I was doing this.

In progess:

How The Other Half Loves, Purdue Theatre, 2012

Ron Clark and Jake Wood designers.

A sit-com of a play, it takes place in two different abodes, and the concept from the original was that they both occupy the stage at the same time.  I chose to have their interiors "bleed" from one to the other rather than quit at corners.

And completed, with cast members.

In retrospect, I might have pushed the "bleed" farther between the two apartments, but I think that, all in all, once furnished and dressed, the set worked pretty well.  Mike Lenz, the grad director, was happy with it. 

As so often happens once a production - whether theatrical, televised, or cinematic - gets "on the boards," the setting becomes the last character on the bill, and the cast for ...Other Half... was also very happy to get to work in this setting.

Brighton Beach Memoirs, 

Purdue University Theatre, 2013

Derek Miller, Designer (MFA Terminal Project)

The - I think it can be referred to as a classic - show by Neil Simon, where the interior of a house is constructed on stage.  As with The Time Of Your Life, the wallpaper here is painted, using stencils or masking.