Opening shot. The drop is rigged on the capstan on stage right. The practical foot lights are also shop built using plates from the party store.

This show required a series of portals, descending in size. Each of the four main settings consists of one tracking portal (in this case forced perspective walls mid-stage) and one tracking drop upstage of the rake. In this shot you can also see the furled drop.

Another of the main settings created with tracking panels. The portal is the forward beam and column unit.

Another of the main settings created with tracking panels. The portal is the downstage outline of buildings.

This is the setting for the Garnier Theatre. Both opera boxes are practical, and have the follow spot positions on top. The SR & SL portal walls are tracking units. The ceiling panels are a static rig. This production was for the 100th anniversary of The University of Memphis, and thus had a support budget that was 10 times our normal base.

For the Masquerade scene in Phantom, a very steep staircase was needed due to the shallow rake out our seating. For a sense of scale the bottom step of the unit is 20 feet wide.

Sample drafting plate from Phantom of The Opera

Showing the scale of the Portcullis, 42' wide x 20' high.

A close up of the opera boxes from Phantom of the Opera provides a sense of scale, and demonstrates the level of detail I try to achieve when adding molding or other dimensional work.

The upstage wall, a pair of 20' high tracking units, opens to reveal the forest scene. The walls were rigged as a traveler to be operated from off stage.

When in the warehouse, the cast is dwarfed by the scenery.

Extending well above the proscenium and having a practical balcony, the set for Much Ado required significant planning of the structure.

Primary structure for two of the walls. Walls were built in two pieces for safe load in.

Detail plate for Much Ado Walls.