Examples of Sculptural Scenery Created at The University of Memphis
Some designs just need sculptural elements in order to reflect a mood or a metaphor. Below are samples of scenic units that required a combination of sculpting skills and techniques. I believe it is very important that students not only learn these skills, but understand when they are appropriate.
The unique feature of this unit is my decision to use polystyrene sheeting to create the organ pipes.
The frames above the audience are meant to represent the frescos on the ceiling of the Garnier Theatre. They are extruded polystyrene cut on a hot wire table, and kerfed to make the curves. Scenic design by Dave Nofsinger.
Graduate student Jay Deen assembling Garnier frames.
A Garnier frame prep'd for final painting
Designed to emulate the roof of the Garnier Theatre for The Phantom of the Opera. This is a wooden structure with extruded polystyrene, CNC cut for base shapes, then hand carved.
In this shot you can see the layering used to create the final piece.
The Elephant from the opening of The Phantom of the Opera at The University of Memphis. This is a rolling wagon and the elephant has an articulated head.
Because of the complex curves needed to create the look of the elephant, I chose to cross lap layers of lauan over 3/4" plywood bulkheads. This was then covered with hard coated burlap.
In order for the head to be articulated, I designed a gimbal mechanism. The head structure was design and built by Dave Nofsinger, scenic designer.
Because the interior of the Elephant is seen during the show, it was necessary for it to have a historic look, thus the all wood structure.
One of three rolling candelabras from the University of Memphis production of The Phantom of the Opera. It has a steel core, turned EPS body, and wood & PVC arms.
Turning a foam section of a candelabra.
The Hell's Gate and Devil cart are carved from expanded polystyrene foam. Scenic design by Dave Nofsinger.
A full set shot showing heaven, hell and purgatory (the island down stage left).
Many elements combine to create the feel of New Orleans; the pole bases suggest streetlights, and the brick and concrete finishes that suggest an old neighborhood. Scenic design by Daniel Mueller.
These panels were created to mimic the traditional ironwork of New Orleans. Most of the units were a three step process of area clearances, v-carving, and final cut-out.
This chandelier has a steel core and outer frame, that allows the actor to climb it after it is flown to the floor. There are strategically placed finials on the arms that make a stable base.
The cannon was lathe turned from extruded polystyrene. The wheels are CNC cut plywood.
This is a shot of the "well" dug for the show, but also shows the sculpted foam walls and the textured "dirt" floor made with sculpted foam coated with burlap and elastomeric stucco.
The curved backdrop and the tree-like columns were all CNC cut from bending plywood.
The designer wanted grand scale trees that were climbable. To do so, the trees have a steel and hardware cloth core and are cover in burlap dipped in a shop mixed hard-coat, then stretched to resemble bark. The canopy was created using erosion cloth and fabric leaves.
The trees after it has all gone horribly wrong....