Jamie’s Gone- 2013 Hamilton Fringe Festival
Winner: Best in Festival
Jamie’s Gone is an interesting show. Set in a small, end of the line community where nothing is quite as it seems, it posed some interesting design challenges. The first being: Festival Shows don’t exactly give you full control of their plot. You work with what you get, sans one fixture for a special. I opted for a downstage centre spot for those tender moments, as well as a gag where two characters (failed actresses) fought over the “limelight”. There was a heavy use of amber and shadow. Being a small scale set, the show really benefited from a good deal of non-motivational lighting. .
Trying to draw fabrics with my Promarkers… It’s a bit too neat… Raaaaagh!!! I need to try something else.
Episode 2 - Design: Costumes
This 10-part series takes an in-depth look at the process of bringing Shrek to Broadway through interviews with the Tony Award®-winning creative team and cast, behind-the-scenes footage and exclusive content you wont find anywhere else!
Broadway 101: “Peter and the Starcatcher“‘s Set Shop Brings Imagination to Life
Tony-nominated for her scenic design of “Bloody Bloody Andrew Jackson,” Donyale Werle once again is ready to take a downtown show uptown to Broadway. This time the task at hand is “Peter and the Starcatcher,” the play-with-music based on the Dave Barry-Ridley Pearson novel which tells the story of Peter Pan before he became the boy who would not grow up. Using a downtown approach to set design that firmly supports the adage “one man’s trash is another man’s (or in this case woman’s) treasure,” Werle and her crew set about capturing audience imaginations by using otherwise everyday objects to adorn the proscenium and sets of the show.
The Mousetrap. Jason Sherwood.
"We tried to find unique shapes and things that were rooted in what’s today but that had something unique and interesting. That way, you could feel that you’re in a world different from the one you live in, but it isn’t a distraction and it never takes you out of the story or the emotion of the film.”
- Casey Storm, costume designer for Her (2013)
regular sight walking to the kitchen.
Penelope. Drew Facey.
Hands Across the Sea
Sheridan College, December 2013
For my first semester final we had to take a traditionally 1930’s Britain Noel Coward Play, and set it in a different time zone. Given the Elizabethan era, the stage had been set. There were 3 other versions of this play that were being performed back to back, repertoire theatre style. Me and the three other designers got together, and hashed out a plot.
The space is a standard blackbox theatre. We as the designers also hung all of the instruments, programmed, and operated for the show.
The Elizabethan era is full of heavy, moody and dramatic tones and colours. It also lacks any form of lighting besides the sun and candles. We went with a standard array of front lights, 2 per zone on 45 degree angles gelled cool/hot, for maximum flexibility. To get the proper feel for the era, I mostly used the amber lights. For me, I got 2 frenels gelled cyan to back-light the scene, so our actors didn’t fade into the curtains. Sidelights gelled R51 brought out skin tones. A gobo emulating the windows of the time period was used to show natural sunlight as well as setting, and 2 lights, one of mine gelled a deep red and another designer’s gelled gold with a breakup pattern gobo gave our curtains a dramatic and exciting look. Finally, a pink gelled Source 4 with an IQ acted as a special for all of us, in my case being used to highlight the shows notable telephone prop.
I will be on a service trip in Philadelphia (human trafficking victim services) for the next week and then in India for class (Women and Politics: Strategies for Empowerment) for three weeks after that so I won’t be around for the next month or so!
I hope everyone has a wonderful season until then, filled with happy openings, efficient strikes, applications and college acceptances and job/internship offers!
As always, my inbox is open for stories and questions. I just won’t be around to answer them. The queue is freshly restocked.
Have fun while I’m gone!
I just received this email from Scenic Carpenter Nick Hernon offering a brief glimpse into the action in the Scene Shop today, where the crew is hard at work on the set for The Seagull.Our tragically crowded shop. The walls in the middle are being painted and are too big to move anywhere else.This is a drawing that represents 26’ tall trees. We’re supposed to try to build it so it’s looks super- close to this.Instead, we set the printer’s scale to print out trees that ARE 26’. We glue the paper to thin plywood and cut the plywood out: instead of being super-close, they are exactly like the designer’s drawing. We lay the pieces out on the floor, Cut pieces of steel to lie within the image, and Weld the peices of steel into one Robo-tree.
We nail the plywood to the steel, glue strips of sheet-foam to the plywood and spray foam into the spaces; this makes some of the weirdest looking trees you’ve ever seen. We then cut, shave, and sand them into a rounded, more natural looking shape.
We glue muslin to soften the edges and provide a more paintable surface.
Check back over the course of the week for more tree-building process shots!
The Timken Museum of Art is hosting entries from the Art of Fashion 2014 competition - 8 tiny period (or not-so-period) costumes inspired by Thomas Gainsborough’s painting, “A Peasant Smoking at a Cottage Door,” all designed and made by UCLA grad students.
My best friend maaaaaay have made one of these…but I’m gonna refrain from saying which one, in the interest of neutrality!
Years of stage managing has made me sympathetic, yet unrelenting at the same time towards late curtains while watching shows.