I engineered and drew a symmetrical pair of curved steps which flanked the main stage opening on the set. The steps needed to be both strong and have a seamless finish, both to accommodate dance numbers and actor traffic, as well as provide the clean "Art Deco" look the Scenic Designer wanted.
Much Ado About Nothing by William Shakespeare, scenic design by Allison Dawe
I engineered and drew a symmetrical pair of curved steps which flanked the main stage opening on the set. The steps needed to be both strong and have a seamless finish, to accommodate dance numbers and actor traffic, as well as provide the clean "Art Deco" look the Scenic Designer wanted.
Much Ado About Nothing by William Shakespeare, scenic design by Allison Dawe
At the front of the stage was a wide set of stairs, which needed to be both strong and have a seamless finish, to accommodate dance numbers and actor traffic, as well as provide the clean "Art Deco" look the Scenic Designer wanted.
Much Ado About Nothing by William Shakespeare, scenic design by Allison Dawe
I calculated an optimal material layout to minimize waste, while also trying to hide panel seams in the painted pattern. I also supervised the layout and marking of the floor, as the panels needed to be carried separately from the stage to the shop for cutting, then brought downstairs to be painted, then back up for installation.
Much Ado About Nothing by WIlliam Shakespeare, scenic design by Allison Dawe
I calculated an optimal material layout to minimize waste, while also hiding panel seams in the painted pattern. Many options were drawn up and discussed with the Scenic Designer before choosing this one.
Much Ado About Nothing by WIlliam Shakespeare, scenic design by Allison Dawe
The finished floor panels had to be carefully aligned and fixed into place with high-strength double sided tape, as they were too thin for biscuit joints, and direct attachment to the stage floor with screws or staples is not permitted.
Much Ado About Nothing by WIlliam Shakespeare, scenic design by Allison Dawe
The set required additional triscuits (stock decking units) of new sizes, so I created a drawing to allow the new units to be built, as well as to have it on file for future use.
Much Ado About Nothing by William Shakespeare, scenic design by Allison Dawe
Over the years of building sets on the Whitman stage, we have come across a number of inconsistencies in the drawing provided by the venue. These resulted in a number of issues, from having to adjust seating locations to difficulties in storing scenery offstage. This past summer I undertook the task of remeasuring the entire Whitman stage and loading dock, in order to support our remaining productions in the theater, as well as more accurately plan for our future use of the dock storage space.
Over the years of building sets on the Whitman stage, we have come across a number of inconsistencies in the drawing provided by the venue. These resulted in a number of issues, from having to adjust seating locations to difficulties in storing scenery offstage. This past summer I undertook the task of remeasuring the entire Whitman stage and loading dock, in order to support our remaining productions in the theater, as well as more accurately plan for our future use of the dock storage space.
This drawing is an overlay of the correct stage in black on top of the previous drawing in red.
In order to make better use of the loading dock, and also looking ahead to future needs, I designed a storage deck structure to replace the tubes currently on the dock. This structure makes use of stock material and hardware wherever possible, such as salvaged pipe from the Gershwin Theater, and grated decking currently in storage.
This design made use of the updated Whitman stage and dock drawing I created, in order to accurately model the space in 3D to ensure a correct fit.
In order to make better use of the loading dock, and also looking ahead to future needs, I designed a storage deck structure to replace the tubes currently on the dock. This structure makes use of stock material and hardware wherever possible, such as salvaged pipe from the Gershwin Theater, and grated decking currently in storage.
This drawing shows a side elevation, demonstrating how the storage deck accommodates storing our stock triscuits.
In order to determine the cost of the new storage deck, the current stock of Rota Lock pipe clamps needed to be sorted and counted, and any missing parts accounted for.
Built and installed a two color (blue and white) LED lighting system in the New Workshop Theater booth.
Along with the Head TD, I measured the theater space and the lighting grid to create a clean, accurate template for students to base their designs on.
Along with the Head TD, I measured the theater space and the lighting grid to create a clean, accurate template for students to base their designs on.