CLOWN SHOW
d/Malcolm Tulip
University of Michigan
I designed and painted this set for the annual Clown Show at University of Michigan.
Full set image in Newman Studio

Floor Design and Treatment
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.

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.

Model For Pre-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.

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.

Paint Evaluations

Model
KISS ME, KATE
d/ Michelle Petrucci
Alexander W. Dreyfoos School of the Arts

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.

Show Curtain

Dress Room set pieces that flipped into Backstage doors.
Model for The Taming of the Shrew
Model for Backstage

Elevations
MOON OVER BUFFALO
d/ Brad Barfield
Alexander W. Dreyfoos School of the Arts
My first scenic design to be produced on stage.
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.
Model

Two balcony units
MODEL BUILDING AND DESIGN

Mary Zimmerman's Metamorphoses
