Book by Dan Remmes, Music by Neil Berg, Lyrics by Nick Meglin
Grumpy Old Men The Musical | Scenic Designer: Ryan J. Zirngibl | 2025
Role and Methodology
I was a carpenter on a small team for the season. For this show I built some of the platforms which were all on casters to roll on and off stage. I also cut and installed a lot of the decorative moulding. I also assisted in painting the portals.
Legally Blonde: The Musical
Music and Lyrics by Laurence O’Keefe and Nell Benjamin, Book by Heather Hach
Legally Blonde The Musical by Heather Hach | Scenic Design: Seth Howard | 2025 Role and Methodology
I was a carpenter on a small team. My main contributions to this set were the construction of many of the flats that make up walls, including the walls in the dorm room (last picture), the center wall being made of 2×6 boards and with a steel ladder attached to the back. I also made and rigged the mirror in the vanity wall which tracks into and out of it’s frame. The green window units in the second photo were constructed by me, and I also installed a lot of the moulding and trim on this set.
Frozen: The Broadway Musical
Music and Lyrics by Kristin Anderson-Lopez and Robert Lopez, Book by Jennifer Lee
Frozen by Jennifer Lee | Scenic Design: Seth Howard | 2025
Role and Methodology
I was a carpenter on a small team for the summer. My main contributions to this set were the construction of the icicle light boxes and many of the moulding and trim elements. I also built several of the flats that make up the three portals.
Centenary College of Louisiana
Shreveport, LA
Little Women adapted by Kate Hamill
Little Women adapted by Kate Hamill | Scenic Design: Kennedy Wilcher | 2024
Role and Methodology
I was the associate scenic designer and head carpenter for this production. The four hexagonal platforms were made of stock 4×8 platforms that we built triangular wings for. Two of the platforms are on wheels and spin and move up and down stage. The parquet flooring on the platforms was made from individual luan tiles stapled to a sacrificial sheet of masonite to save time during strike, and the floor and background framing were stained instead of painted. I designed and drafted in AutoCAD the background house framing.
Metamorphoses adapted by Mary Zimmerman
Metamorphoses by Mary Zimmerman | Scenic Design: Alan Berry | 2024
Role and Methodology
I was the head carpenter for this production of Metamorphoses. The set consisted of a large pool of water enclosed by four 2×4 stud walls which I built, faced with OSB and covered with sound board, packing blankets, and pool liner. The pool had two levels, one shallow side at ~6″ and a deeper side at ~18″. The boardwalk is made with individual fence boards, with a trapdoor built into the furthest upstage walkway. The back three levels are individual platforms. The columns are 16′ tall tubes of muslin with 3/4″ plywood circles on either end for rigging and for mounting LED lighting instruments to. There are also lights mounted underneath the boardwalks.
Dracula: A Feminist Revenge Fantasy adapted by Kate Hamill
Dracula: A Feminist Revenge Fantasy by Kate Hamill | Scenic Design: Don Hooper | 2023 Role and Methodology
This set was constructed as a 3/4 thrust with a 2′ x 20′ platform at the back of the stage which was 8′ tall. I assisted in the construction of the platform, the backdrop, which was made of steel and plywood, and I also retrofitted the spiral staircase on the right with two additional steps at the top, fabricated out of 16 gauge steel.
Mac Beth Adapted by Erica Schmidt
Mac Beth adapted by Erica Schmidt | Scenic Design: Don Hooper | 2023 Role and Methodology
This set was built in proscenium on a rake and was a large, roughly 22′ x 22′ platform with a large wall at the back of the set with two doorways. I helped with the construction of the platform, the wall, and the rain and gutter systems. The raked platform was built out of 4′ x 8′ stock platforms covered with layers of Visqueen, sound board, and then the whole platform was covered with muslin. This show necessitated the construction of a rain rig, which I helped make with PVC pipes and sprinkler heads. We also built a gutter system at the front edge of the stage that ran into a barrel under the stage in the orchestra pit. The back wall was constructed with hard cover flats which we then covered over with 3″ thick foam and deteriorated with acetone to emulate eroded concrete.
Dancing at Lughnasa by Brian Friel
Dancing at Lughnasa by Brian Friel | Scenic Design: Don Hooper | 2022 Role and Methodology
This set was built in 3/4 thrust, entirely framed out of 2×4, with the exception of the mantle in the center and the cross piece at the top of the roofline, which were both made of 2×6. I helped build all of the framing and did repairs on stock furniture.
The Alley Theatre
Houston, TX
And Then There Were None by Agatha Christie
And Then There Were None by Agatha Christie | Scenic Design: Nick Vaughan | 2024
Role and Methodology
I participated in this production during my time as the Alley Theatre’s scenery department intern. The Alley’s scene shop is 14 stories above their spaces, so every set must be broken up into pieces that can fit into a freight elevator and be put together in-space. I built several of the frames for the walls of this set, and assisted with others, as well as participating in the load-in and installation process. During the run of the show, I assisted with touch-up notes and finishing details.
The Glass Menagerie by Tennessee Williams
Parquet floor tiles, cut and sandedRole and Methodology
Processed and individually sanded 3/16 birch plywood into roughly 1600 identical parquet floor tiles for a production of The Glass Menagerie.
