Theatrical Scenic Builds
Set Construction Portfolio
Hands-on set construction projects showcasing practical carpentry skills, problem-solving, and collaboration within theatrical productions, supporting scenic design through safe, functional, and performance-ready builds.
Bryan Putnam, Art-Sublimina-Photography.com, #artsubliminaphotography
Scenic Design
Scenic design projects focused on drafting, visual communication, and translating conceptual ideas into build-ready technical documentation.
Drafting Package
Inspired by the vibrancy of Colombia and the village-square aesthetic from Life of Pi, I envisioned a colorful, inclusive environment with dynamic flow and multiple entry points. The design included a balcony intended to hold a band, helping transport the audience into a lively, communal setting.
This project involved creating a complete scenic drafting package using Vectorworks, with painted elevations rendered in Photoshop to illustrate a realized design.
This project focused on drafting an existing scenic rendering in Vectorworks, emphasizing accuracy, scale, and clear technical communication.
Set Recreation
Intro to Technical Design
Foundational technical design projects exploring scenic modeling and costume visualization across multiple disciplines.
Set Model - Hadestown
This set model was based on the musical Hadestown, focusing on translating thematic elements into physical form through scale modeling and spatial planning.
Set Construction
Suor Angelica and Cavalleria Rusticana
For Suor Angelica (Suor) and Cavalleria Rusticana (Rustica), I helped create a set that could be used for two different sets. Suor setting was an old Abby, while Rustica was located in a jovial town square. The build focused on creating a 17-foot-tall chapel and garden arches. Scenic environments were further developed through the creative use of a fountain, La Madona, vines, lattice, benches, tables, and chairs to define both shows having totally different storylines and locations.
This project emphasized deadlines, collaboration, and confidences in the first production I was part of.
Construction Focus
Large structure stabilization
Raising heavy structures and beams
Creating natural elements with reclaimed items
Bryan Putnam, Art-Sublimina-Photography.com, #artsubliminaphotography
Suor Angelica: Director: Nancy King, Set Designer: Max Lydy, Lighting Designer: Delaney McLaughlin
Suor Angelica: Director: Nancy King, Set Designer: Max Lydy, Lighting Designer: Delaney McLaughlin
Suor Angelica: Director: Nancy King, Set Designer: Max Lydy, Lighting Designer: Delaney McLaughlin
Suor Angelica: Director: Nancy King, Set Designer: Max Lydy, Lighting Designer: Delaney McLaughlin
Suor Angelica: Director: Nancy King, Set Designer: Max Lydy, Lighting Designer: Delaney McLaughlin
Suor Angelica: Director: Nancy King, Set Designer: Max Lydy, Lighting Designer: Delaney McLaughlin
Suor Angelica: Director: Nancy King, Set Designer: Max Lydy, Lighting Designer: Delaney McLaughlin
Cavalleria Rusticana: Director: Nancy King, Set Designer: Max Lydy, Lighting Designer: Delaney McLaughlin
Cavalleria Rusticana: Director: Nancy King, Set Designer: Max Lydy, Lighting Designer: Delaney McLaughlin
Cavalleria Rusticana: Director: Nancy King, Set Designer: Max Lydy, Lighting Designer: Delaney McLaughlin
Cavalleria Rusticana: Director: Nancy King, Set Designer: Max Lydy, Lighting Designer: Delaney McLaughlin
Cavalleria Rusticana: Director: Nancy King, Set Designer: Max Lydy, Lighting Designer: Delaney McLaughlin
Cavalleria Rusticana: Director: Nancy King, Set Designer: Max Lydy, Lighting Designer: Delaney McLaughlin
CAB After Death
For CAB After Death, I contributed to the construction and assembly of adaptable scenic elements that transformed shared materials into distinct environments. The build focused on creating upright wall structures using constructed flats and stabilizing techniques. Scenic environments were further developed through the creative use of acrobatic mats, sheets, blankets, tables, and chairs to define each room and support the production’s conceptual approach.
This project emphasized flexibility, collaboration, and resourceful construction methods within a student-led theatrical production.
Construction Focus
Flat construction and wall stabilization
Scenic assembly using nontraditional materials
Spatial transformation through modular elements
Collaborative build process
Director: Erin Kelly, Set Designer: Erin Kelly, Lighting Designers: Students of THR-306-001
Director: Erin Kelly, Set Designer: Erin Kelly, Lighting Designers: Students of THR-306-001
Director: Erin Kelly, Set Designer: Erin Kelly, Lighting Designers: Students of THR-306-001
Director: Erin Kelly, Set Designer: Erin Kelly, Lighting Designers: Students of THR-306-001
Director: Erin Kelly, Set Designer: Erin Kelly, Lighting Designers: Students of THR-306-001
Director: Erin Kelly, Set Designer: Erin Kelly, Lighting Designers: Students of THR-306-001
A Midsummer Night’s Dream
During A Midsummer Night’s Dream, I served as Master Carpenter, leading the construction of large-scale scenic elements. I built eighteen doors ranging from 18’ to 4’ tall, complete with frames, designed to function in multiple ways throughout the production. Several doors were rigged to fly in, mounted on moving scenic units, or installed as stationary floor elements.
In addition to door construction, I assisted in building two moving platforms and a swing designed for actor interaction. This project required precision, coordination with multiple departments, and a strong focus on safety, durability, and performance functionality.
Construction Focus
Master carpentry and build coordination
Large-scale door construction and framing
Moving scenery and actor-interactive elements
Collaboration with technical direction and design teams
Director: Micheal McNulty, Set Designer: Ben Mays, Lighting Designer: Jacob Sharrod
Director: Micheal McNulty, Set Designer: Ben Mays, Lighting Designer: Jacob Sharrod
Explore Additional Theatrical Work
Beyond academic coursework, my theatrical experience includes hands-on production work across multiple technical and scenic disciplines. These areas reflect my collaborative approach to theatre-making and my interest in supporting performance through practical execution and design.
