The Wizard of Oz
by L. Frank Baum
Photo by Michael Scott Evans
Scenic Designer: Scott Leathers
Scenic Charge: Rachael Silverman
I worked on painting parts of the set for The Wizard of Oz at NCT from November 17 to December 23, 2022. One of my favorite things I learned while working on the flats for this production was how much the base color impacts the final result. For example, we applied a red base coat before the gold, which made the gold appear much richer and more vibrant.
I worked on painting parts of the set for The Wizard of Oz at NCT from November 17 to December 23, 2022. One of my favorite things I learned while working on the flats for this production was how much the base color impacts the final result. For example, we applied a red base coat before the gold, which made the gold appear much richer and more vibrant.
I worked on painting parts of the set for The Wizard of Oz at NCT from November 17 to December 23, 2022. One of my favorite things I learned while working on the flats for this production was how much the base color impacts the final result. For example, we applied a red base coat before the gold, which made the gold appear much richer and more vibrant.
I participated in painting parts of this puppet, created by Jesse Mooney Bullock, for the Wizard of Oz.
I participated in painting parts of this puppet, created by Jesse Mooney Bullock, for the Wizard of Oz.
While creating the platform above, I learned one of my favorite techniques as a Scenic Artist. Designed to resemble hay, the platform was painted by layering various shades of yellow and orange using a feather duster, which gave it a textured, realistic appearance.
This is one instance whereas I was required to quickly problem-solve. Photographed above is a process photo of the making of the witch’s castle in the Wizard of Oz. I needed to find material to insert into panty-hose that would give the appearance of twigs/vines. Therefore, I chose to use leftover hay which was used for the production of Click, Clack, Boo!