3. The major needs of the set
were versatility and an
adherence to the aesthetic of
the show.
The costumes were genuine
vintage pieces so I used
reclaimed wood for the facing
of each piece.
For structural purposes I
used new wood for internal
bracing and stained them to
match.
Each individual piece was
specially made with attention
to mobility, adaptability and
safety.
SET
The seal was painted by two professional designers using
a projector I rigged from the light scaffolding.
The rear screen was made in strips to mimic the stripes of
the American flag.
4. GUNS
A total of nine pistols and one rifle
were used in the production
During the run of the show, I
personally oversaw the safety,
maintenance, and loading of each
weapon.
The cast was taken to a shooting
range, given an overview of gun
safety, and allowed to practice live
firing their character’s specific
weapon.
5. Early in the preproduction process we
realized our proposed venues lacked
the capabilities we needed to produce
the show.
As the technical director I oversaw
the rental and instillation of new lights
and control board
This included 12 mac auras, DMX
and power cabling, four ellipsoidals,
and a fat frog operating board. In
addition we used five .5K Fresnels in
the space.
Because our master electrician had to
resign near the start date, I worked
closely with a new ME through
rigging, focus, and plot.
After close I oversaw the teardown
and return of all equipment, props,
and set pieces.
LIGHTING
6. The first use of ‘the box’ was as
stand for the electrocution scene for
Zangara.
As opposed to going to black and
shying away from the two execution
scenes the director wanted the
images to invoke images of
Americana and culture’s celebration
of violence. While the production
manager played images of a fourth
of July celebration, sparks erupted
from the actors head and hands.
Funkon rings were embedded in the
chair which he could trigger with his
thumb.
The head piece had two motors in it
which rand a steel cylinder against
flints for a zippo lighter. A wire ran
down to the leg so the circuit could
be completed with his foot.
ELECTRIC CHAIR
7. ‘The Box’ was originally designed as
a solution for the hanging scene.
A hole allowed the actor to drop
giving the illusion of a hanging.
Rope was run over weight bearing
piping which I secured to scaffolding
behind the audience.
Before the scene, the noose was
raised above the level of the lights so
it was hidden. The noose was
attached by Velcro to a shackle-bolt
which, upon taking weight, broke from
the bolt and allowed him to fall safely
into the box which was padded to
prevent injury.
As he fell, the lights faced the
audience and went to bright white to
mask the breaking of the noose.
A trap built into the back allowed the
actor to exit in darkness.
THE GALLOWS
11. Five Course Love is a play
consisting of a series of
vignettes taking place in a
rotation themed restaurants.
The set consisted of a back wall
with swinging kitchen doors and
a set of five 6x8’ periactois and
a roll on counter that could be
fixed to the stage.
All of the pieces were totally
mobile as other show had to use
the venue during days when the
show was dark.
Barbeque
17. DESIGN
The plot revolved around a
comic book author, so the
set was themed as such.
The first two panels were
made to look like a comic
book.
We used a four colour
scheme with white gutters
to echo the golden era of
comics.
Large scale pointillism (the
same technique used for
colouring pre-digital comic
books) continued the
theme.
18. PROJECTIONS
The process of
designing this show
began by my
commissioning a team
of artists to create a
psychographic
rendering of the show.
Projectors turned three
panels from the set to
play through the comic
as the show
progressed.
19. SET
Ethan constantly compares
himself to the flash so we
designed his apt to match
The third wall was made to look
like speed lines attached to the
end of the ‘comic book’
The stairwell entrance gave
additional levels.
20. LIGHTING
Lighting was particularly
important to this show because
of scene transitions.
We used a lot of hard edges to
give a clear sense of space.
I also used specials for the
illusion of motion, matched
with sounds and the comic
panels for moments like the
subway.
22. This was perhaps the most
challenging production I’ve
worked on.
The cast consisted of 24
characters who often played
simultaneous scenes.
The floor was painted with chalk
architectural markers
23. I struck these three sections of
seating in what is typically a
‘round’ arrangement.
Removing the upstage seating
allowed me to move the set all
the way back to the scene dock.
The side seating area became
an extension of the diner where
the audience was sat.
24. We turned the space into a
working diner complete with real
food and drinks being prepared
Characters could move through
the space without having to
pretend the audience wasn’t
there.
Audience members were even
free to place orders with the wait
staff, though quality of service
was not guaranteed.
25. The downstage section of
seating was made to be the
‘steps’ outside and across
the street from the diner.
Many of the scenes took
place in this street so many
of the characters including
the ‘junky choir’ could
interact directly with the
audience.
Throughout the show the
actors would attempt to chat
with, sell things too, and
sleep on audience members.
27. Foregrounds was a set of three
final year student shows.
Each of these had been written
and directed by the students.
In addition to designing the
lights, I was charged with
overseeing the collaboration
between the students and the
theatre and ensuring smooth
interactions between the groups.
The largest creating was
creating a lighting structure that
could support all three shows at
once with once set of shared
resources.
28. GOOD PERSON OF SZECHWAN
Lighting Designer
Granary Theatre
29.
30. Due to the Brechtian nature of
the show, the colours and
angles could be extreme and
exceed the bounds realism.
31. In many of the scenes the
scaffolding was used as part of
the show, which meant it had to
be unconventionally lit.
The major needs of the set were versatility and an adherence to the aesthetic of the show.
The costumes were genuine vintage pieces so I used reclaimed wood for the facing of each piece.
For structural purposes I used new wood for internal bracing and stained them to match.
Each individual piece was specially made with attention to mobility, adaptability and safety.
The seal was painted by two professional designers using a projector I rigged from the light scaffolding.
The rear screen was made in strips to mimic the stripes of the American flag.
A total of nine pistols and one rifle were used in the production.
During the run of the show, I personally oversaw the safety, maintenance, and loading of each weapon.
The cast was taken to a shooting range, given an overview of gun safety, and allowed to practice live firing their character’s specific weapon.
Early in the preproduction process we realized our proposed venues lacked the capabilities we needed to produce the show.
As the technical director I oversaw the rental and instillation of new lights and control board
This included 12 mac auras, DMX and power cabling, four ellipsoidals, and a fat frog operating board. In addition we used five .5K Fresnels in the space.
Because our master electrician had to resign near the start date, I worked closely with a new ME through rigging, focus, and plot.
After close I oversaw the teardown and return of all equipment, props, and set pieces.
The first use of ‘the box’ was as stand for the electrocution scene for Zangara.
As opposed to going to black and shying away from the two execution scenes the director wanted the images to invoke images of Americana and cultures celebration of violence. While the production manager played images of a fourth of July celebration, sparks erupted from the actors head and hands.
Funkon rings were embedded in the chair which he could trigger with his thumb.
The head piece had two motors in it which rand a steel cylinder against flints for a zippo lighter. A wire ran down to the leg so the circuit could be completed with his foot.
‘The Box’ was originally designed as a solution for the hanging scene.
A hole allowed the actor to drop giving the illusion of a hanging.
Rope was run over weight bearing piping which I secured to scaffolding behind the audience.
Before the scene the noose was raised above the level of the lights so it was hidden. The noose was attached by Velcro to a shackle-bolt which, upon taking weight, broke from the bolt and allowed him to fall safely into the box which was padded to prevent injury.
As he fell, the lights faced the audience and went to bright white to mask the breaking of the noose.
A trap built into the back allowed the actor to exit in darkness.
SET
The plot revolved around a comic book author, so the set was themed as such.
The first two panels were made to look like a comic book.
We used a four colour scheme with white gutters to echo the golden era of comics.
Large scale pointillism (the same technique used for colouring pre-digital comic books) continued the theme.
The process of designing this show began by my commissioning a team of artists to create a psychographic rendering of the show.
Projectors turned three panels from the set to play through the comic as the show progressed.
