Crazy For You - 2015
Crazy For You is a show that relies very directly on a difference between locations. The main character Bobby is infatuated with the glitz and glamor of the New York stage. When he arrives in Deadrock, Nevada it needed to seem drab in comparison, but as he begins to fall in love with Deadrock he starts to bring his own theatrical leanings into the world of the old west. For this reason I made the New York locations very cool, and electrically lit, while Deadrock is uses a lot of warm natural tones/materials. As the show progresses aspects of the design for New York incorporate themselves into the world of Deadrock, with everything culminating in an electrically lit Deadrock that is very reminiscent of a smaller version of the Broadway location seen earlier in the play.
Glengarry Glen Ross - 2015
The design for Glengarry Glen Ross came from two basic concepts that influenced the design of the two locations featured in the play. The Chinese restaurant seen in act one was designed to look stereotypical and falsely warm and inviting. The idea being that the low class facsimile of Asian culture shared a lot in common with the facade put on by the characters in the play. This is torn away in the transition to the office, where I took the image of the shattered glass and turned that into a broken up version of an office, where the world around the salesmen is just as broken and disjointed as their lives have become with the theft of the leads.
Bengal Tiger at the Baghdad Zoo - 2014
Honorable Mention in undergraduate scenic design at the 2015 SETC Design Competition
Bengal Tiger at the Baghdad Zoo is at its core a show about being out of place, the most obvious example of this being the American Soldiers involvement in a conflict in a land that they, by all accounts, have no reason to be in. But the other major theme of the show is acclamation, as seen in the changes the characters in the show experience in their spirit forms. For this reason I chose to create a set that was built out of an invasive material (concrete barriers brought into the region by the US military) that have been worn down and turned into a part of the desert. The inorganic barriers have become a part of a natural ecosystem of the world around them.
The Iceman Cometh - 2013
For The Iceman Cometh I created a set that was large enough to house a very large number of characters, but also felt constricted and prison like, to highlight the inability of the characters to leave the bar or change their ways. This was accomplished by using a large amount of vertical lines that enclosed the characters and tied into beams that keep them down. The windows were even designed to seem like they belonged more in a prison, with dingy glass that keeps the world out as much as it keeps the characters in. In essence this bar has truly become a prison, even if the characters remain by their own devise.