IPHIGENIA IN AULIS
With this design, I focused on how Agamemnon reached a point of no return within the play, where he was cornered and forced into a decision with no escape. This scenic design includes a visually out-of-scale boardwalk with gaps that continue into the strong vertical lines detailed in Agamemnon’s bunker base. The boardwalk represents how Agamemnon was forced into a corner with no escape because once you reach the end of the boardwalk, there is nowhere to go but the open sea.
The aim of this design was to focus on the representation of Medea as an outsider who is looked down upon in a male-dominated world. The set includes a visual gash in the middle of the front-facing wall of Medea’s residence to represent a conceptual entrance and demonstrate the strong presence of Medea within her ever-cracking world. Even though the gash represents her power, it also represents the evil of her actions which cause the powerful diagonal line to break apart the world outside of her residence.
By Henrik Ibsen
This design represents Hedda’s confinement and repetitive existence through the large parallel wooden beams suspended over her head in this American Craftsman house. This set portrays a visual vortex through the use of rooms which diminish in size as they move upstage. The vortex draws the audience into Hedda’s world, while representing Hedda’s never-ending struggle to survive in this environment.
THE ROCKY HORROR SHOW
By Richard O'Brien
I created this scenic design to mimic the transition of Brad and Janet’s personality and identity as people in a world created and curated by Frank. This scenic design includes a transitional set which begins as a drive-in movie theater and transforms into a visual spiral. The spiral represents the path and method with which Frank draws two outsiders from the darkness of the backside of a drive-in movie theatre into the pulsating light of a warped spiral reality like a spider into a spiderweb.