CLOWN SHOW 
d/Malcolm Tulip
University of Michigan
I designed and painted this set for the annual Clown Show at University of Michigan.
I designed and painted this set for the annual Clown Show at University of Michigan.
Full set image in Newman Studio
Full set image in Newman Studio
Floor Design and Treatment
Floor Design and Treatment
Detail
Detail
 POWER CENTER 50th ANNIVERSARY 
I designed and painted interior and street banners to celebrate the history of the theater and promote the current season. 
University of Michigan/ University Productions
MURAKAMI BY THE SEA 
d/Tzveta Kassabova
University of Michigan
While performing (seen on ladder), I painted the entire set during the one hour and a half performance each night.
While performing (seen on ladder), I painted the entire set during the one hour and a half performance each night.
My design was over 2,000 sq ft of recycled cardboard found by dumpster diving to promote sustainability within theatre.  We used paper to paint on for each show and reused as much as possible.
My design was over 2,000 sq ft of recycled cardboard found by dumpster diving to promote sustainability within theatre. We used paper to paint on for each show and reused as much as possible.
At the end of each performance we ensemble members would cut out paint pieces of the set and give them to audience members.
At the end of each performance we ensemble members would cut out paint pieces of the set and give them to audience members.
Model For Pre-Show
Model For Pre-Show
Model for Post-Show
Model for Post-Show
SCENIC PAINTING
Nicole currently works for University Productions at the University of Michigan in the paint and scene shop. Most recently, she carved a bust of Zeus out of foam for the production of Antigone. 
SHE KILLS MONSTERS
d/David Forsee
University of Michigan- Basement Arts
My design was influenced by Dungeons and Dragons and LGBTQ+ aesthetics.
My design was influenced by Dungeons and Dragons and LGBTQ+ aesthetics.
I painted the floor treatment using fast techniques for our tight schedule
I painted the floor treatment using fast techniques for our tight schedule
A grid was hung to continue the design of the floor in front of the projection scene.
A grid was hung to continue the design of the floor in front of the projection scene.
Paint Evaluations
Paint Evaluations
Model
Model
KISS ME, KATE
d/ Michelle Petrucci
Alexander W. Dreyfoos School of the Arts
Backstage design that flipped into Petruchio's House.
Backstage design that flipped into Petruchio's House.
The Taming of the Shew set remained behind the Backstage set and hinged forward once the backdrop was lifted.
The Taming of the Shew set remained behind the Backstage set and hinged forward once the backdrop was lifted.
Show Curtain
Show Curtain
Dress Room set pieces that flipped into Backstage doors.
Dress Room set pieces that flipped into Backstage doors.
Model for The Taming of the Shrew
Model for The Taming of the Shrew
Model for Backstage
Model for Backstage
Elevations
Elevations
MOON OVER BUFFALO
d/ Brad Barfield 
Alexander W. Dreyfoos School of the Arts
My first scenic design to be produced on stage.
My first scenic design to be produced on stage.
The paint treatment was a base coat with 5 layers of sponging.
The paint treatment was a base coat with 5 layers of sponging.
Downstage flats were on hinges to allow for the Private Lives pieces to move center stage.
Downstage flats were on hinges to allow for the Private Lives pieces to move center stage.
Model
Model
Two balcony units
Two balcony units
MODEL BUILDING AND DESIGN
Mary Zimmerman's Metamorphoses
Mary Zimmerman's Metamorphoses
Macbeth
Macbeth
Cabaret 1997 Revival
Cabaret 1997 Revival
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