Although my focus has always been on props, I’ve also had the opportunity to work with large sets, both at UNCSA and at EHS. So, I wanted to show some examples of the set designs I helped construct. Working with set crews has really helped me understand how props are integrated into the overall narrative of the show. This set was built for the EHS production of Cry-Baby.

One thing I learned from working with the set design crew is how to adapt large pieces for more than one purpose. In Cry-Baby, our largest set piece was used for multiple settings. All photography for Cry-Baby by Jesse Keefe.

Another thing I learned from working with the set crew was how to implement basic architectural design. I learned how to build a deck, put up siding and shutters, and so much more for the set of Big Fish. All photography for Big Fish by Jaskanwar Batra.

This photo, from the EHS production of Big Fish, really shows how the set, large props, and small props work together to create a narrative.

Here is another example of how the set and props design teams worked together to create a specific mood during one of the scenes for Big Fish.

The sets and props for the EHS production of Frankenstein had to be portable and easily fit in a large van for transport, which presented an interesting challenge. But we were able to create the mood we wanted by utilizing some unique lighting techniques beneath the tables. All photography for Frankenstein by Owen Leavey, Jeff Perrin, and Emma Brott.