Fountain Statue

Much Ado About Nothing, by William Shakespeare
Ohio University, 2015

Triton Blowing a Conch Shell by Adriaen de Vries (c. 1615)
Designer Research Image

*This was a collaborative and interdepartmental project. I guided a fellow student through the base carve process and then finished the rest of the sculpt. Other artisans created the four fish and the pedestal, and the Scene Shop handled the build of the fountain base and the plumbing.*

fountain-statue-daniel_raderThis production was set in post-WWII Italy. The piazza was restored from wartime destruction to revitalized beauty in several phases. This included a destroyed fountain that was repaired in two segments: pedestal and statue. Additionally, there was a running gag where each time the maintenance man worked on the fountain, he was sprayed in the face with water.

In order to achieve the water effects, two sump pumps were hidden under the stage with hoses that lived in the fountain base. One hose was used to connect to the hard plumbing within the pedestal, which split to run to three fish. The second hose connected to its mate embedded in the body of the statue which was fed through the pedestal. By the end of the play, both the fish and statue worked.

The statue was made of several layers of rigid foam with a hose running through the center of it. Expanding foam, microcell foam, and masking tape were also used to create the body shapes and details. The statue sat on a plywood base to stabilize it. A new foot and a leg were carved separately and attached with a steel rod. The whole form was paper mached before it was coated in epoxy resin and painted by the Scenic crew.

Magic Flute

The Magic Flute, by Mozart
The Glimmerglass Festival, 2015
Scene Design by: Troy Hourie

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Designer Rendering

For this production of The Magic Flute, the design team wanted Papagano to be able make the flute light up whenever he played it. I placed the button central to where the singer held his fingers in rehearsal, and the action worked seamlessly. This project was the first time I experimented with wiring, and the small venue in which it all had to live and still be accessible to Stage Ops was the big problem to solve. I began with a 1-1/2” clear acrylic tube. On one end I wedged a section of dowel with a bit of PVC glued inside to create the mouth piece. On the other side was dowel padded out with a bit of 3/4” plywood. Both pieces of closet pole were hollowed out just enough to suspend a smaller dowel that ran through the length of the tube.

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24 LED lights were soldered in 6 runs of 4 in series, in parallel. The LEDs were secured to the dowel according to a numbered dot pattern. A hole had to be drilled through both sides of the the tube and dowel to accommodate the button. Cheese cloth was used to create the wood texture. After final details and a base paint job, Scenic added the shimmer treatment. The battery was accessible though the bottom of the flute.

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The Quiver
A very soft sueded leather was provided for the quiver. It was very floppy and it was hard to get the flute in and out quickly, so a .065 ABS plastic spine was hand sewn to the quiver to add stiffness down the singer’s back, as well as hold the opening open for easier handling. magic-flute-img_6222

Quilt

Intimate Apparel, by Lynn Nottage
Ohio University, 2016

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This project was a modification of an existing 1930’s quilt. Much of the original fabric was too thin and worn to trust, so to reinforce the structure, as well as to integrate the quilt into the world of the show, new patches pulled from costume show fabrics were sewn on top of the quilt.

A new back was required to accommodate the stress and wear of a trick pocket. The chosen fabric was too bright, so it was dyed down with Pearl Gray to fit into the environment.

The script specifically called for the crazy quilt to have a hidden pocket where the main character saved her money. The pocket had to be both cut open with scissors for a few bills to be pulled out, and then only a couple of scenes later, ripped open to reveal a large sum of money.

Two pockets were inserted on either side of the seam of the quilt back. The pocket was re-stitched each night.