Today’s pictures feature our TD, Steve Chene, working on the tree frames. Here is the first one, waiting on sawhorses while he cuts something for student Anastasia.
Here he and TA Thad work on the second frame.
And at the end of the day, we put the first one into position. It’s going to be a looooong week.
First, since we have rotating units that get used from all angles and they’ve already started blocking and fight choreography, I’ve started putting together some rough models Romeo and Juliet can have in rehearsal to better understand what that have to work with.
Then, in the shop, we’re starting in on trees and tree frames for Woods. We’re painting all the bits of the frames before assembly — which will make life much, much easier.
Since we’re going to eighteen feet on threes, we have to lengthen the sonotube elements. In the back, there, TA Keri works on covering the tubes with muslin in preparation for painting.
My project for the afternoon was working on the giant hand. The fingers will eventually be articulated, but I wanted them to at least get to work with it for size and weight over the weekend.
And here’s TA Anna lost in the forest. . .
All sorts of exciting deliveries today! First, our new inventory of lighting equipment — lots of LED fixtures as well as Source Four Juniors for the Hicklin.
The sonotube for the Woods trees also arrived.
Happy Intro to Tech students painting the underside of the step unit we added.
And then a bit later, cutting lap joints for the sides of the tree frames.
Finally, hang began today. That’s student M.E. Nick leaning over a pipe as he supervises the crew hanging student designer Jayson’s plot.
I managed to snap Intro to Tech students Molly and Alison just when they stopped working on bracing and looked like they were having fun.
Originally, the ladder up to Rapunzel’s platform was angled and constructivist. It proved to be too dangerous for the actors, so when in doubt, yank it out and replace it with one of the ladders we saved from Three Penny Opera. I will probably have to tuck one or two other ladders about the set for consistency’s sake.
My afternoon project was to get started on the giant hand. Eventually, I plan to hinge the joints on the digits so that the two crew people who carry it on can wrap them around the narrator before dragging him away.
I remove the weight that was keeping parts in place as the glue dried on the new Milky White, while the old template leans against the work table, looking on, or rather, away. . .
And here it is, the almost finished, unpainted Milky White. One of my projects this afternoon is to add the udder.
Meanwhile, stage manager and assistant propsmaster Alyssa works on flowers and baked goods. . .
. . .and Intro to Tech student Sean works on the ladder leading up to Rapunzel’s platform. . .
. . . while Intro to Tech student Cassandra and TA Anna paint bracing (while Milky White looks on).
Platforms are going up for “Into the Woods!”
This is the initial cut out for Milky White. I was originally going to carve a more 3D realistic cow (more character than prop), but in further discussions with the the director (Jim Butchart) we decided to go more prop than character. She will be two flat cut outs sandwiching an interior box which will serve as the stomach when she gets fed the items at the end of Act 1. In the meantime, they have something to serve as a standin.
Student propmaster Keri has been working on baked goods. . .
. . . and creating the remote controlled chicken.
“Anything to Declare?” opens this morning with our student matinee. Below are two photos from last night’s final dress.
A moment from the series of revelations late in Act Three (Act One takes place in the same locale — the Dupont’s parlor).
And a moment from Act Two, Zeze’s garret, when her maid comes to inform her that she has a vistor in the midst entertaining another vistor. . .
I must admit to be being happier with how the second act turned out. The wireframe elements that were supposed to top the walls for Act 1/3 didn’t work — the wire used was too soft and bendy and it was impossible to get the clean sweeps and swirls I’d hoped for. Oh well.
A hold moment during first tech last night. We’re just about to move the buzzer from the stage left side of the arch to the wall upstage of the stage left chair so the actor ringing it won’t have to upstage himself.
And a moment in the second act act. The paintings were created (painted adaptations of the source images) by student propmaster Nick Skaja.
Dry tech this afternoon, so here is director Jim Butchart sitting behind stage manager Alyssa and student lighting designer Nick as they work through the cues.
The stage set up for acts one and three, the Dupont parlor.
And the stage set up for act two, Zeze’s garret. Yes, there’s still a fair amount to get done on both sets. . .
. . . and here in the shop we have Intro students Annaliese and Kathy working on the wireframe cake toppers while. . .
. . . Intro student Hannah paints one of the easels.
Today, we got to a point where much of what was built is painted and can now start being assembled. Very exciting!
This is Zeze’s groundrow, which is the view through her tall artists garret windows out onto the alleys of Paris. The holes will get material and light so that it seems like someone is home.
Here is student lighting designer Nick Skaja focussing.
Meanwhile, in the shop, the window gets painted. . .
. . . the wireframe ‘cake toppers’ start to take shape. . .
. . . masking flats get based. . .
. . . and when lighting takes a break, walls go up. That’s TD Steve Chene in the forground, and Nick pointing up where one of Zeze’s practicals will get hung.
