Set design, lighting design, and projections for theatre and dance. 

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Home Portfolio Archive for category "Auburn"
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God of Carnage

   


Research:

I have been drawing heavily on these interiors:

 
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Red Badge of Courage

Sample Media:

More Sample Media

Projected media was interspersed and overlaid with shadow play.

 
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9 to 5

The set included eight different projection zones.   None was wider than about twelve feet.    There was a stationary set of florescent light fixtures midstage.  All of the projectors were mounted there.





























Screen Shots from the original film are available.  Click here.

Scene Breakdown:

Page Scene Setting  Where on stage?
Act I

7

2

Office Bullpen  Apron

3

Hart’s Office  RC Area +40

23

4

Filing Room  SR Apron

26

5

Xerox Room  SL Apron

33

6

Office Bullpen  Apron

37

7

Hart’s Office  RC Area +40

43

8

Elevator  LC Area +40

46

9

Violet’s Living Room  SR Wagon, carrying a couch to CS

48

9a

Judy’s Fantasy  Entire Office

51

9b

Doralee’s Fantasy  Entire Office

54

9c

Violet’s Fantasy  Entire Office

57

10

Coffee Area  SL Wagon at SL

60

11

Ladies Room  SR Wagon at SR

62

12

Elevator  LC Area +40

64

13

Hospital  Apron and probably all screens flown in

70

14

Hart’s Office  RC Area _40

76

Parking Garage Fake Car on SL Wagon, CS Position.

78

Hart’s Bedroom  Hart’s Bed on SR Wagon, CS Position
Act II Intermission

80

1

Hart’s Office  RC Area

86

2

Roz’s Desk  Somewhere in Bullpen (apron)

88

3

Office Bullpen  Apron

96

4

Atrium Bullpen or Elevator area

101

5

Hart’s House Hart’s Bedroom repeats, then Apron

105

6

Hart’s Office  RC Area

109

7

Office Bullpen  Apron
Finale Voiceover: Dolly

117

8


Consolidated Settings:

  • Office Bullpen
  • Hart’s Office
  • Filing Room
  • Xerox Room
  • Elevtor
  • Coffee Area
  • Ladies Room
  • Roz’s Desk
  • [Atrium]

Other Settings

 
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Harvey

title
task
Directed by director
venue
rundate
Click for more information.

 
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Sylvia

Sylvia can be readily produced very modestly, with minimal costumes and scenery.   We opted to scale it up a little, instead.    Settings for the show change rapidly.    Time makes big leaps forward.   Costumes need to change convincingly.   Simultaneously, we were not pursuing cinematic realism.    The show is solidly theatrical (the lead character is a dog, played by a human).

In our early design discussions, the director, Scott Phillips, returned again and again to cartoons in The New Yorker.   He loved the comic simplicity and precision.   We both liked that style, visually for the set.  However, we also wanted to use a lot of color in the show.   I suggested that we look at cover-art for The New Yorker, instead of the cartoons inside of it. read more

 
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Hamlet

Chris Qualls distilled this version of the classic with concise edits, the injection of an occasional montage, and a liberal use of rock music.   This venue was a large proscenium house.   Chris really wanted the feel of a fighting arena, and had no interest in maintaining a fourth wall.   I designed a four-sided arena which was built on the proscenium stage.  It included four voms with several extra entrances, such as overlooking balconies above the performance space, and a stairwell-trap from the middle of the playing space.   Moving lights and haze were the foundation of the lighting design, along with a remotely controlled and ghostly boombox that mystically drove key moments in the show. read more

 
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