ENTERTAINMENT PRODUCTION
SCENIC ART
Working with designers, Drawing, Color, Texture, Style, Sampling, Creating/Following/Directing Procedure, Budgeting, Leadership, Creativity
PROPS
Procurement and Production of Properties, Inventory management, Period style/design/research, scheduling, Transport and shipping, Confidence and decision making,
CARPENTRY & FABRICATION
Cutting/laying out/constructing simple scenic units, Hand and power tools, hardware, Run crew,
PRODUCTION CREDITS INCLUDE
August - September 2019
CENTRAL SQUARE THEATRE
Scenic Charge Artist - The Crucible
June-July 2019
APOLLINAIRE THEATRE COMPANY
Design and Production Associate, Scenic Artist - A Curious Incident of a Dog in the Nighttime.
September - November 2018
NEW ENGLAND SCENIC
Scenic Charge Artist- Fun Home and Avenue Q
September 2015-2018
BOSTON UNIVERSITY
Scenic Artist- Uncle Jack, Rosmersholm, Antigone
Props Master - The Hothouse, The Cherry Orchard, Much Ado about Nothing
Summer 2016, 2017
THE GLOUCESTER STAGE COMPANY
Scenic Artist- Lettice and Lovage, The Bank Job
Summer 2016, 2017
WILLIAMSTOWN THEATRE FESTIVAL
Scenic Art Intern, Staff Scenic Aritst
SCENIC ART AND FABRICATION
I have extensive scenic painting experience comprised of a large set of skills that is applicable across a large spectrum of disciplines. From introductions with directors, designers, and producers on through complete execution of design concepts- I have done it on a variety of scales. My scenic art training has provided me with an in-depth understanding of color, texture, and finish that has been used in both my design work, as well as my fine art and 3d rendering work. I am also competent in a variety of other areas including basic carpentry, sewing, carving, and a variety of design disciplines. I love working with my hands, being on my feet, and leading team projects.
PROPERTIES
One of the most interesting part of producing props for a production is period style and historic research. At BU I was responsible for procuring properties for a number of productions, both for my own and others'. My strengths as a props master go beyond my knowledge of decor and style, but also an ability to communicate clearly with actors and designers. As a props artisan, designer, and artist, props have always played an important role in my storytelling, and I believe they carry much weight. This has allowed me to tie my knowledge of art history and dramatic criticism into my work.
