During rehearsal last night. It’s at points like this, when we’re a bit behind, that I miss the students who decided to go ahead and graduate on time rather than stick around a few more years and continue developing their painting skills. I’m talking about you, Candace.
All the prints I have so far painted in the air. There are about eight more to go. Today, however, is about carving rocks.
Some of the students covering the rocks with muslin and glue.
The rocks, drying.
And finally, the stone benches getting their stone treatment.
Two of today’s botanical print frenzy.
And they start going up into the air. Fun note: the students didn’t bother to glue together the beam foam before they started carving the rocks on Friday, which was not discovered until today. So today, the foam is being glued, and tomorrow, I get to put aside my paint brushes and carve like the wind. Excitement.
The set for “Love’s Labour’s Lost” progresses. The benches are built, but yet to get their stonework. The piles of bead foam have been placed to work out the sizes of the stones to be carved. The upstage pipes are in place.
Two of the botanical prints I worked on today.
And finally, students carving foam stones. Though I had to go over and show them that whittling the whole thing down with a rasp was not the most efficient method. . .
In the Hicklen Theatre, with students laying out and gluing together blocks of foam for the rocks by the stream.
My project for the afternoon — working on the botanical prints. At this point, I have half of them traced out, and got four of those tracings colored today.
The pears, before final sepia wash.
Two completed flats, after the sepia wash.
Panels
Base coats on the platforming for “Love’s Labour’s Lost.” Circuiting is happening at the same time, so that’s freshman Jake Taylor standing there with his lighting stick. I’m glad he waited until the paint was dry. The collage painting on the stage floor is left over from this past summer’s “I Love You, You’re Perfect, Now Change,” designed by student Keenan Minogue.
In an earlier post, I mentioned that we were going to go with carpet, and I changed the rendering to reflect these textures. Sadly, the budget won’t allow it, so we’re back to paint.
The final project for the scenic portion of Introduction to Theatrical Design was due yesterday, and here are some of the projects on the bulletin boards outside the classroom. Students chose to work on one of these three plays: “The Weir,” “The Holy Rosenbergs,” and Wole Soyinka’s version of “The Bacchae.”
Platforms going up for “Love’s Labour’s Lost.” That’s student Alissa Krantz back there wrestling some masonite into place.
At the same time, light hang is going on. That’s student Jesus Duran atop the ladder pointing. Lighting design is by our technical director, Steve Chene.
The finished “Aladdin” set under worklights. The orange ‘onions’ were added to hide the join between the green and red arches, since it wasn’t possible to carve the compound angle necessary to make them butt cleanly. The show is now touring to area schools.
During last night’s technical rehearsal. The princess in the throne room. The throne is not quite done, but I’m quite happy with the way the tiling on the column turned out. Lighting design by student Sean Jensen. Costume design by student Julia Boarini.
Street scene with Aladdin and his mother.
In the shop this afternoon, making the push to finish the tile painting on the blue columns. We’ll finish the last two green ones tomorrow afternoon.
The throne with first paint on it. This, too, will be finished Friday afternoon. We’ll be bedazzling the heck out of it.
And finally, when you don’t have the one planter you want, you take two planters and turn them into one.