SET AND COSTUME DESIGN - Please scroll to see each gallery. Click photos to enlarge.
L'Article 23 et sa suite - Set Design
Director: Laura Lussier/Theatre Cercle Moliere 2021 (Costumes: Lili Lavack, lighting and projection: jaymez, photos Leif Norman. Cast: Simon Miron, Micheline Marchildon, Micheline Girardin, Andrina Turenne, Daniel Péloquin-Hopfner)
This play consisted of a series of vignettes about being Francophone in Manitoba. It also took place during the COVID-19 pandemic. The set needed to be transformative, allow for storage of many props, and keep actors distant, with everything they need in their own space. This was addressed with 4 "islands", each with a projection surface and containing seating and storage, based on ice floes on the Red River. The shapes of projection surfaces were all built from curved segments, which came from the idea of flowing water of Winnipeg's defining rivers as well as the weaving techniques of the ceinture fléschéé.
Director: Laura Lussier/Theatre Cercle Moliere 2021 (Costumes: Lili Lavack, lighting and projection: jaymez, photos Leif Norman. Cast: Simon Miron, Micheline Marchildon, Micheline Girardin, Andrina Turenne, Daniel Péloquin-Hopfner)
This play consisted of a series of vignettes about being Francophone in Manitoba. It also took place during the COVID-19 pandemic. The set needed to be transformative, allow for storage of many props, and keep actors distant, with everything they need in their own space. This was addressed with 4 "islands", each with a projection surface and containing seating and storage, based on ice floes on the Red River. The shapes of projection surfaces were all built from curved segments, which came from the idea of flowing water of Winnipeg's defining rivers as well as the weaving techniques of the ceinture fléschéé.
It's A Wonderful Life: A Live Radio Play - Set Design
Director: Thom Currie/Magnus Theatre 2019 (Costumes: Mervi Angombar, Lighting Rebecca Miller, Photos Matthew Goertz [cell phone photos by me])
On this project, the concept was to harness that childlike wondering of whether the voices you hear on the radio are inside the radio itself, with the architectural details being oversized versions of the shapes, colours, and textures of 1940s radios (On Air and station sign as buttons and dial, portals as the radio edge, acoustic tile paint treatment as the speaker cover). Over this was layered dressing and details to build the world of Christmastime in 1946.
Director: Thom Currie/Magnus Theatre 2019 (Costumes: Mervi Angombar, Lighting Rebecca Miller, Photos Matthew Goertz [cell phone photos by me])
On this project, the concept was to harness that childlike wondering of whether the voices you hear on the radio are inside the radio itself, with the architectural details being oversized versions of the shapes, colours, and textures of 1940s radios (On Air and station sign as buttons and dial, portals as the radio edge, acoustic tile paint treatment as the speaker cover). Over this was layered dressing and details to build the world of Christmastime in 1946.
Mrs. Warren's Profession - Set and Lighting Design
Director: Heather Cant/Chemainus Theatre Festival 2019 (Costumes: Crystal Hanson)
Our version of Shaw's work was set in 1927, the year that white women gained the ability to vote in Britain. I used influences of the Art Noveau period that the characters were leaving behind in the arch that loomed over them, while a manipulatable, rearrangeable metal garden gate in Art Deco style was interacted with and created the four locations of the play. The theatre is almost a full thrust, so furniture allowed for movement patterns while giving a sense of location.
Director: Heather Cant/Chemainus Theatre Festival 2019 (Costumes: Crystal Hanson)
Our version of Shaw's work was set in 1927, the year that white women gained the ability to vote in Britain. I used influences of the Art Noveau period that the characters were leaving behind in the arch that loomed over them, while a manipulatable, rearrangeable metal garden gate in Art Deco style was interacted with and created the four locations of the play. The theatre is almost a full thrust, so furniture allowed for movement patterns while giving a sense of location.
Pippin - Production Design (see lighting page for more photos!)
Director: Simon Miron Choreographer: Jillian Willems/Village Conservatory and Winnipeg Studio Theatre 2019 (Photos: Kayla Gordon and Keith Levit)
Rather than recreating the traditional circus for Pippin our team instead saw the players as a cult called Morning Glow, with a leader clad in the colours of flame and his followers like moths drawn to him. Costumes also drew from ancient Egyptians - other sun worshippers. To echo the themes of transformation in the play, the set consisted of draped sheer fabric manipulated by the actors to set the scene and execute choreography. As Catherine and Pippin "play house" on the farm, all the props there were children's toys - as though they had come from Theo's possessions.
Director: Simon Miron Choreographer: Jillian Willems/Village Conservatory and Winnipeg Studio Theatre 2019 (Photos: Kayla Gordon and Keith Levit)
Rather than recreating the traditional circus for Pippin our team instead saw the players as a cult called Morning Glow, with a leader clad in the colours of flame and his followers like moths drawn to him. Costumes also drew from ancient Egyptians - other sun worshippers. To echo the themes of transformation in the play, the set consisted of draped sheer fabric manipulated by the actors to set the scene and execute choreography. As Catherine and Pippin "play house" on the farm, all the props there were children's toys - as though they had come from Theo's possessions.
Breaking Up is Hard to Do - Set and Costume Design
Director: Debbie Patterson/Rainbow Stage 2018 (Lighting: Scott Henderson, Close-up photos Robert Tinker)
At a Catskills resort in 1960, hijinks ensure! Rather than a literal interpretation, I used shapes and colours of a jukebox as architectural elements for this set, which featured a revolve to differentiate "onstage/backstage". Practical lighting elements were important for this outdoor stage as act 1 occurred in daylight.
Director: Debbie Patterson/Rainbow Stage 2018 (Lighting: Scott Henderson, Close-up photos Robert Tinker)
At a Catskills resort in 1960, hijinks ensure! Rather than a literal interpretation, I used shapes and colours of a jukebox as architectural elements for this set, which featured a revolve to differentiate "onstage/backstage". Practical lighting elements were important for this outdoor stage as act 1 occurred in daylight.
Becoming Dr. Ruth - Set Design, Costume Coordination, Lighting Design
Director: Debbie Patterson/Winnipeg Jewish Theatre 2018 (Actor: Mariam Bernstein)
Director: Debbie Patterson/Winnipeg Jewish Theatre 2018 (Actor: Mariam Bernstein)
Tragedy: A Tragedy - Lighting, Set, and Costume Design
Director: Suzie Martin/Blarney Productions - Edmonton Fringe Festival 2018 (Photos: Mat Simpson)
Director: Suzie Martin/Blarney Productions - Edmonton Fringe Festival 2018 (Photos: Mat Simpson)
Walk - Set and Costume Design
Director: Michael Bradley/Edmonton Fringe 2018
This simple production had to meet the Fringe needs of a fifteen-minute install/teardown, while depicting the crossover between Afghanistan and an Edmonton hospital in which a wounded Canadian soldier undergoes rehab. Action took place over several months requiring costumes to show passing time.
Director: Michael Bradley/Edmonton Fringe 2018
This simple production had to meet the Fringe needs of a fifteen-minute install/teardown, while depicting the crossover between Afghanistan and an Edmonton hospital in which a wounded Canadian soldier undergoes rehab. Action took place over several months requiring costumes to show passing time.
Armstrong's War - Set (and props) and Lighting Design
Director: Heather Cant/Western Canada Theatre 2018
In this thrust production, we were interested in conveying a sense of Michael being isolated in a forgotten hospital room, and that he could not shake his experiences in Afghanistan, which played into the sandy, army-adjacent colour choices within the context of mismatched hospital furniture and decor. (Costume design: Cindy Wiebe, Actors pictured: Julie Leung and Zac Scott)
Director: Heather Cant/Western Canada Theatre 2018
In this thrust production, we were interested in conveying a sense of Michael being isolated in a forgotten hospital room, and that he could not shake his experiences in Afghanistan, which played into the sandy, army-adjacent colour choices within the context of mismatched hospital furniture and decor. (Costume design: Cindy Wiebe, Actors pictured: Julie Leung and Zac Scott)
The Lady from the Sea - Production Design
Director: Michael Bradley/University of Alberta Studio Theatre 2017
For this modern-day adaptation of Ibsen's play, the set was based on the works and style of Edvard Munch. The cliffs of the fjord loomed ever-present and the levels were used to convey both mountaintop and seabed. This production constituted part of my thesis at the University of Alberta. (Photos: Ed Ellis)
Director: Michael Bradley/University of Alberta Studio Theatre 2017
For this modern-day adaptation of Ibsen's play, the set was based on the works and style of Edvard Munch. The cliffs of the fjord loomed ever-present and the levels were used to convey both mountaintop and seabed. This production constituted part of my thesis at the University of Alberta. (Photos: Ed Ellis)
Cash: Ring of Fire - Set and Costume Design
Director: Carson Nattrass/Rainbow Stage 2016
In this celebration of Johnny Cash's life, the cast performs as themselves, not imitating Cash but rather bringing new voices to his music. Act 1 told the story of Cash's early years and country roots; Act 2 delved into his darker stories with a more rock-and-roll edge. (Lights: Scott Henderson; Photos: Robert Tinker)
Director: Carson Nattrass/Rainbow Stage 2016
In this celebration of Johnny Cash's life, the cast performs as themselves, not imitating Cash but rather bringing new voices to his music. Act 1 told the story of Cash's early years and country roots; Act 2 delved into his darker stories with a more rock-and-roll edge. (Lights: Scott Henderson; Photos: Robert Tinker)
Heavenly Bodies - Set Design and Lighting Consultation
Director: Zorya Arrow/Creator & Performer: Gislina Patterson / Happy/Accidents Productions 2017
This production was a remount of a successful one-woman Fringe show, dealing with a 17-year-old girl's crush on and subsequent sexual assault by a 30-year-old handyman renovating her home. Magazines were the central image for their commentary on and ability to tell us what is "sexy" in ourselves and others, and were used to create a chaotic environment for a teenage life. (Shadow puppets: Gislina Patterson; Photos: Erin Meagan Schwartz)
Director: Zorya Arrow/Creator & Performer: Gislina Patterson / Happy/Accidents Productions 2017
This production was a remount of a successful one-woman Fringe show, dealing with a 17-year-old girl's crush on and subsequent sexual assault by a 30-year-old handyman renovating her home. Magazines were the central image for their commentary on and ability to tell us what is "sexy" in ourselves and others, and were used to create a chaotic environment for a teenage life. (Shadow puppets: Gislina Patterson; Photos: Erin Meagan Schwartz)
God's Ear - Set Design
Director: Suzie Martin/University of Alberta Studio Theatre 2016
For this play dealing with the loss of a child, the design sought to evoke the things left behind and what we do to try to fill the void. Elements began in a pile upstage and were flown upwards and outwards in one moment. (Lights: Lee Livingstone, Costumes: Narda McCarroll, Photos: Ed Ellis)
Director: Suzie Martin/University of Alberta Studio Theatre 2016
For this play dealing with the loss of a child, the design sought to evoke the things left behind and what we do to try to fill the void. Elements began in a pile upstage and were flown upwards and outwards in one moment. (Lights: Lee Livingstone, Costumes: Narda McCarroll, Photos: Ed Ellis)
Iphigenia at Aulis - Costume Design
Director: David Kennedy / University of Alberta Studio Theatre 2015
The Greek tragedy was transported to a modern military base; it was not set in a particular country so uniforms required a degree of anonymity. The royal family became members of the 1%, and the Chorus were entertainment TV reporters. (Set: Guido Tondino, Lights: Robert Shannon, Photos: Ed Ellis)
Director: David Kennedy / University of Alberta Studio Theatre 2015
The Greek tragedy was transported to a modern military base; it was not set in a particular country so uniforms required a degree of anonymity. The royal family became members of the 1%, and the Chorus were entertainment TV reporters. (Set: Guido Tondino, Lights: Robert Shannon, Photos: Ed Ellis)
Seven Doors - Set Design
Director: Christopher Brauer / University of Winnipeg 2012
This postmodern piece called for a set full of surprises. Inspiration came from the Golden Ratio and illusion of perfection, as well as the cold linearity of both our industrial world and a prairie landscape in winter. (Costumes: Joseph Abetria, Lights: Alison Fulmyk, Photos: Christopher Coyne)
Director: Christopher Brauer / University of Winnipeg 2012
This postmodern piece called for a set full of surprises. Inspiration came from the Golden Ratio and illusion of perfection, as well as the cold linearity of both our industrial world and a prairie landscape in winter. (Costumes: Joseph Abetria, Lights: Alison Fulmyk, Photos: Christopher Coyne)
Sainte-Carmen of the Main - Costume Design
Director: Andrey Tarasiak / University of Winnipeg 2013
Tremblay's Montreal was transposed onto Winnipeg's North End in the 1970s. (Set: Joseph Abetria, Lights: Katherine Johnston, Photos: Christopher Coyne)
Director: Andrey Tarasiak / University of Winnipeg 2013
Tremblay's Montreal was transposed onto Winnipeg's North End in the 1970s. (Set: Joseph Abetria, Lights: Katherine Johnston, Photos: Christopher Coyne)
Hamlet - Set and Associate Costume Design
Director: Carolyn Gray / MTYP Young Company 2012 (LIghts: Eric Bosse, Costumes: Diane Klisko, Photos: Loc Lu)
Director: Carolyn Gray / MTYP Young Company 2012 (LIghts: Eric Bosse, Costumes: Diane Klisko, Photos: Loc Lu)
Killing Game - Set and Costume Design
Director: Shelagh Carter / University of Winnipeg 2013
The look of the set was based on Raoul Dufy's paintings, populated by ghostly wire figures. (Lights: Katherine Johnston, Photos: Christopher Coyne)
Director: Shelagh Carter / University of Winnipeg 2013
The look of the set was based on Raoul Dufy's paintings, populated by ghostly wire figures. (Lights: Katherine Johnston, Photos: Christopher Coyne)
Launched and The Naked Woman - Set and Costume Design
Director: Carolyn Gray / Sarasvàti Productions: FemFest 2014
Presented in rep at a festival, Launched dealt with Cathy, having lived in her mother's house all her life, and her siblings coming together to deal with their mother's death. The Naked Woman explored the aging female body and in the context of a wealthy socialite being widowed. (Photos: Janet Shum)
Director: Carolyn Gray / Sarasvàti Productions: FemFest 2014
Presented in rep at a festival, Launched dealt with Cathy, having lived in her mother's house all her life, and her siblings coming together to deal with their mother's death. The Naked Woman explored the aging female body and in the context of a wealthy socialite being widowed. (Photos: Janet Shum)
Godspell - Set, Costume, and Lighting Design
Director: Tatiana Carnevale/Choreographer: Reanna Joseph / Winnipeg Studion Theatre (Winnipeg Fringe Festival) 2014
In the tradition of Godspell, the actors played themselves; we put them in the context of young actors messing about backstage in a theatre and using what they found there.
(Photos: Matt Duboff)
Director: Tatiana Carnevale/Choreographer: Reanna Joseph / Winnipeg Studion Theatre (Winnipeg Fringe Festival) 2014
In the tradition of Godspell, the actors played themselves; we put them in the context of young actors messing about backstage in a theatre and using what they found there.
(Photos: Matt Duboff)
