- The Demon Bridegroom
- Brick by Brick
- Anon(ymous)
- The Importance of Being Earnest
- Downstage After Hours
- Crave
- Carnival
- The What’s Left Over After
- Well
Set Design
Puppetry
Lighting Design
The Demon Bridegroom
During the summer of 2008 I interned with artist Andrea Dezsö, building sets for her stop-motion film The Demon Bridegroom.
The Demon Bridegroom
The tailor must be a relative of mine!
The Demon Bridegroom
The Luminitza bridal shop under construction.
Brick by Brick
A multi-level set for a musical based on the stories of Edgar Allan Poe, written by Ross Wade and Nehemiah Luckett. Directed by Leyla Ebtehadj.
Brick by Brick
A multi-level set for a musical based on the stories of Edgar Allan Poe, written by Ross Wade and Nehemia Luckett. Directed by Leyla Ebtehadj.
Brick by Brick
A multi-level set for a musical based on the stories of Edgar Allan Poe, written by Ross Wade and Nehemiah Luckett. Directed by Leyla Ebtehadj.
Brick by Brick
A multi-level set for a musical based on the stories of Edgar Allan Poe, written by Ross Wade and Nehemiah Luckett. Directed by Leyla Ebtehadj.
Downstage After Hours
My very first set design was a modular set for an evening of short plays.
Downstage After Hours
My very first set design was a modular set for an evening of short plays.
Downstage After Hours
My very first set design was a modular set for an evening of short plays.
Anon(ymous)
Designed a runway-style set for this play by Naomi Iizuka, directed by Dylan Levers.
Anon(ymous)
Designed a runway-style set for this play by Naomi Iizuka, directed by Dylan Levers.
The Importance of Being Earnest
Bold blues, reds, and greens dominate the set for this classic Oscar Wilde play. Directed by Alexandra Conboy
The Importance of Being Earnest
Bold blues, reds, and greens dominate the set for this classic Oscar Wilde play. Directed by Alexandra Conboy
The Importance of Being Earnest
Bold blues, reds, and greens dominate the set for this classic Oscar Wilde play. Directed by Alexandra Conboy
Crave
Crave is the story of Antonia, a woman who owns a painting that climbs out of its frame and eats her food at night.
Cast
- Writer, Director: Gabriel Aronson
- Puppeteers: Gabriel Aronson, Emma McCumber, Eric Ugland
- The Spirit of the Painting: Catherine O’Sullivan
Photo by Dan Bretl
Crave
Here, a close-up of the painting, which transforms after each food outing. In this picture we see that the painting has kidnapped Antonia’s cat.
Photo by Dan Bretl
Crave
A close up of the puppet.
Crave
A close-up of the set.
Crave
The puppet undergoing a makeover.
Carnival
A collaboration with Nao Otaka and Natalie Park, this puppet show consisted of a single larger-than-life figure operated by three puppeteers.
Carnival
The head and each of the arms are operated by an individual.
Carnival
The chest cavity opens to reveal a puppet proscenium.
The What’s Left Over After
Lighting design and installation. The multi-coloured lighting concept was inspired by objects in a pawn shop. Choreographed by Sarah A.O. Rosner.
The What’s Left Over After
Lighting design and installation. The multi-coloured lighting concept was inspired by objects in a pawn shop. Choreographed by Sarah A.O. Rosner.
The What’s Left Over After
Lighting design and installation. The multi-coloured lighting concept was inspired by objects in a pawn shop. Choreographed by Sarah A.O. Rosner.
Well
Subtle lighting shifts transform twilight into morning. Choreographed by Jules Skloot.
Well
Subtle lighting shifts transform twilight into morning. Choreographed by Jules Skloot.
Well
Subtle lighting shifts transform twilight into morning. Choreographed by Jules Skloot.
Well
Subtle lighting shifts transform twilight into morning. Choreographed by Jules Skloot.