MURAKAMI BY THE SEA 
d/Tzveta Kassabova
University of Michigan
My poster design for this production to connect with the aesthetic of the scenic design.
My poster design for this production to connect with the aesthetic of the scenic design.
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
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.
The design needed to be able to blend from reality to a magical world.
The design needed to be able to blend from reality to a magical world.
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
CLASS SCENIC DESIGNS
Mary Zimmerman's Metamorphoses
Mary Zimmerman's Metamorphoses
Macbeth
Macbeth
Cabaret 1997 Revival
Cabaret 1997 Revival

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