Advanced Hand Props, with Tom Fiocchi
Ohio University, 2016
The original clock was most likely several feet tall despite being a wall hanging. I downsized my clock to roughly 27”H x 11″W x 8-1/2″D.
The first thing I made were the spindles. I used rock maple for it’s strength in turning something both narrow and complicated. They measured around 1-1/2” at the widest diameter and stood at around 13” tall.The trunk was constructed from pine, poplar, ply, and some leftover moulding. The height of the trunk wasn’t determined until the spindles were cut to size. The spindle attachment points were left accessible during construction so they could still be removed.
The base was made from planed and shaped scraps of poplar and a wooden finial found in stock. The thick black paint was sanded off, and its detail returned with a dremel. The trunk was assembled after the base was constructed. The screws that held the bottom of the spindles in place were eventually replaced with the dowels used to create the lower finials.
The plinth was created using a base of pine and embellished with scraps of trim moulding, pressed wood appliqués, poplar, oak, and other findings. The plinth and base both had a set of small decorative finials. They were too delicate to lathe, so I used beads, knobs, and other wood findings to create similar shapes. The best shop finding was by far a perfectly sized lion brooch in the Costume Crafts Shop!
The back plate and pendulum insert were left removable so the clock itself and a plexi window could still be accessed for changing the time and cleaning purposes. The pendulum was of poplar and a pressed wood appliqué. The whole thing was coated in epoxy create a glossy surface for the paint. Small bits of coat hanger wire were brazed to create the fret and epoxied into the top of the pendulum. The source clock had a decorative plate with the model name “Gloria” engraved on it. I found a drawer pull with no mate in stock and shaped it with the dye grinder and dremel. As an homage, I christened this clock with my own initials.
Because so many varieties of wood were used, I chose to paint the clock in order to unify the piece. It was sealed with a polycrylic semi-gloss. The clock rim, pendulum, lion pendant, and name plate were all hit with the same gold spray paint and FEV treatment.
The Magic Flute, by Mozart
The Glimmerglass Festival, 2015
Scene Design by: Troy Hourie
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.
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.
dowel in acrylic tube
LEDs on dot patern
button soldered after placement
battery access through bottom
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.
Lyle the Crocodile, adapted by Kevin Kling
Imagination Stage, 2013
For this pizza, Great Stuff expanding foam was blown onto wax paper. The shape was then sureformed into a smoother shape. The desired corner was cut into a slice. The crust was painted front and back. Bubble wrap was used to emulate the cheese bubbles. Sculpt or Coat tinted yellow was poured over the bubble wrap. After it dried layers of orange and red paint was sponged on top.
Rumpelstiltskin, by Mike Kenny
Imagination Stage, 2014
The show called for a rustic style dishware. I took several existing metal and plastic bowls, etc. and coated them in Sculpt or Coat mixed thickly with sand. The earthenware was painted with acrylics and sealed with a polycrylic.
The bread came from a loaf already in stock that was shaped in order to fit into one of the pans. A slice was cut out of it for the action of the play.