For Summer 2026, the MTX program had moved into the new After School Matters at Orleans teen center and I had taken over the program as lead instructor, scenic designer, and technical director. The new theatre space was much smaller and presented some unique challenges for such a large show. I worked to solve the lack of backstage space by creating tree backdrop pieces which sectioned off portions of the theatre to create space for actor entrances and props storage. The centerpiece of the set was the large hearth with a functioning fireplace effect. The set is otherwise sparse, because with 25 teens in the cast for this play, they needed a lot of dancing space! The real star of this design is the paint treatments: a flowery meadow for the forest, a swirly brick dancing circle, stamped leaves on the trees, and a hand-painted clock on the chimney. I gave the teens quite a lot of creative freedom for this show, and their talent truly shines.
The Unseen is an unnerving and philosophical play that centers on two men imprisoned in isolated cells for unknown reasons. The set is sparse by nature, but there is room to decide what kind of prison it is. Ours was dilapidated, with stained and moldy walls bearing as much grime as their inhabitants. As the prison system breaks down over the course of the play, it becomes easier and easier to imagine those damaged walls literally crumbling away. This set was entirely my creation: I served as the designer, and sole carpenter and painter. It was a challenge, but incredibly rewarding to see it all come together, step by step.
The set for Incognito was very simple, just two chairs, a piano, and a painted floor. And the giant floating neuron sculpture. I was hired to fabricate this sculpture from Marcus' design, determining exactly how it would be built and installed. I settled on a stiff skeleton made from plywood and PVC, with an organic shape built out using chicken wire and polyester batting. The entire sculpture was wrapped in translucent fabric, and lighting designer Jack Goodman wired it with LEDs during the build process. The light diffused through the layers of material to create a soft scattering effect, with organic points of brightness and dimness. The sculpture was rigged to the grid with chain points, one on each arm and two on the center. It all came together in just four days.
In the summer of 2025, I returned to After School Matters to design their production of Hadestown. The director's vision for this set was a combination of a rural train stop and a New Orleans-style speakeasy. I used the architecture of the theatre to create the New Orleans facades for the upper level, including Hades' office. This feel continues down the staircase with a CNC'd wrought-iron railing.
On the ground level, the set becomes industrial, with a brick wall matching the existing walls of the space and a wooden boxcar that allows passage to the Underworld. A painted train track and wooden tunnel archways complete the look.
During production, I took on the role of paint charge, instructing the teens in the four main finishes for the set: wood, metal, stucco, and brick. I broke each finish down into three simple steps so the teens could learn them easily and teach them to each other. These simple finishes ensured a cohesive look for the set across all the different locations it had to portray.
In the summer of 2024, I was hired on as the scenic designer and co-instructor for After School Matter's "Musical Theatre Experience" and "Set Design and Production" programs. These programs serve to provide high school students with the experience of a professional theatre environment in both acting and technical aspects. The teens were the performers, carpenters, electricians, and run crew.
For this production, I designed an "80s glam" set to suit the unique storefront space at Gallery 37 for the Arts. The set consisted of a central bridge platform which spanned from one side of the space's catwalk to a scenically built staircase to allow easy access to this second level. This platform created both an extra performance level and a "backstage" space for the black box. The platform was flanked by tall arched flats which were all fitted with color-changing LED strip lights. Rolling platforms and counters allowed for quick scene changes, and a center sequined curtain beneath the platform both concealed the backstage area and provided extra dazzle.
"Three plays about being and dating," written by Loyola students and produced as part of the new play development season for the 2023-24 school year. Staged in our Underground Theatre black box space with three distinct sets, this production is both an experiment and a celebration of what makes us human and how we love.
In keeping with the natural setting of this play, this set made use of reclaimed materials with a focus on sustainability and whimsy. This resulted in new and inventive designs to fulfill this need, including recycled paper-mache textures and reclaimed fabric details.