Painting the Set for Three Musketeers

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I went into the Shakes to watch as scenic painters Sarah Taylor and Izabella Cellucci working on the set of Three Musketeers. Jeff Ferree gave me a quick tour of the set in progress before I started on my sketch. The dynamic feature of this set is that the center section of the back stage can spin, offering quick set changes. A large motor with a rubber tire is used to spin the circular inset. A circular staircase will be added to the section that spins. I imagine some fancy swordplay on those steps.. The curved back wall looks like stonework but is cardboard pressed and formed to look like stone.

The floors of the set were being painted. The paint is layered in passes. Izabella, with the paint roller was applying the first pass which was a colored base coat. Sarah painnted the center elevated stage section which was getting a darker grout coloring between the ancient stonework. I loved that her paints had as much paint splatter as the stonework she was working on. Actually her pants also had a grey camouflage pattern which made her pants seem more splattered that they were. The background stage floor already had all the paint treatments applied and the stonework was deep an rich, surrounded by dark wooden beams, and all that wood grain was also painted. This was a large set with a whole lot of surfaces that needed painting.

The foreground section of floor then got the fun treatment I was hoping to see. She took buckets of paint and dipped in a large house brush and then threw the paint on each panel. She would drop down the lightest color followed by two other colors and then she let those spatters mix together organically like a molten lava flow. Seated in the front row I was a bit concerned about getting spattered myself but she had total control of her medium. She told me she got her break painting a set at the Rep and she has been painting shows ever since. I loved watching the process, it is so much like painting in watercolor where spatters are just part of the process rather than being considered mistakes. Once the puddled of paint were applied she watched as the pains swam together in unexpected ways. Large fans were then turned on to blow over, but not directly on the drying paint. If the strong fans were aimed right at the paint then streaks would develop and that was not the look they were going for.

Three Musketeers by Catherine Bush is adapted from the novel by Alexandre Dumas. The show runs from February 5, 2020 to March 22, 2020. It is a
story of double crossings, kidnappings, and carefully guarded secrets,
complete with lavish sword fights and sweeping romance, set in a time
when love and honor ruled the world. Get your ticket now.

Set build for Miss Bennet: Christmas at Pemberley

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I went to the Orlando Shakes scenic shop to watch the set build for Miss Bennet: Christmas at Pemberley by Lauren Gunderson and Margot Melcon. Jeff Ferree with his unicorn, hotdog, and patriotic popsicles shirt,was busy populating several book shelves. The shelves needed books and he realized there was plenty of left over styrofoam in the shop, so he decided to create the book using the foam rather than getting a whole lot of heavy books. Once the book forms were cut they then needed to be sanded and the ridge of the binding needed to be added. In the background, Hannah Kleinpeter, was sanding consistently as I sketched. I actually started my sketch with her since she was so focused on the task at hand. All the cutting and sanding had to be interrupted for a while when the theater next door filled up with students excited to see a show.

Miss Bennet: Christmas at Pemberley will light up your holiday season. It is
a touching romantic comedy with a gorgeous set with lots of custom books. Jane Austen’s quick wit and lively humor are
preserved in this Pride and Prejudice sequel. All your favorites, Lizzy,
Mr. Darcy, Jane, Lydia, and especially Mary Bennet have gathered for Christmas.
Awkward and bookish, Mary had been written off as a spinster, but when a
curious visitor comes for the holiday, Mary blossoms, finding a kindred spirit
who challenges her intellect and just may capture her heart. Can Mary become
the heroine of her own destiny? Could this mean independence for the dutiful
middle sister? The delightful love story unfolds like a Christmas card for
Austen devotees and newbies alike. 

Miss Bennet: Christmas at Pemberley runs through December 29, 2019.

Orlando Shakes in the Margeson
Theater

John and Rita Lowndes
Shakespeare Center

812 East Rollins Street,
Orlando, FL 32803

Ticket Information:

Wednesdays – Saturdays
at 7:30 p.m. and every Sunday and select Saturdays at 2:00 p.m. – starting at
$30.  Preview Performances and
Senior Matinees – starting at $20.

CAST

Mary Bennet: Kristin
Shirilla

Arthur de Bourgh:
Cameron Francis

Elizabeth Darcy : Lauren
Culver

Fitzwilliam Darcy: Brett
D. Waldon

Jane Bingley: Samantha
Potak

Charles Bingley: Preston
Ellis

Lydia Wickham: Brandy
Bell

Anne de Bourgh: Jillian
Gizzi

CREATIVE TEAM

Director: Anne Hering

Scenic Designer: Chris McKinney

Lighting Designer: Larry Rodriguez

Costume Designer: Howard Vincent Kurtz

Sound Designer: Britt Sandusky

Lighting Design Assistants: Sierra Goins,
Kelsey Monteith, Joe Gugliuzza, and Levi Roberts

AEA Stage Manager: Paige Gober

Juggling Spaghettti in Box 10.

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27 Blue Boxes are painted on sidewalks in Downtown Orlando. These boxes are for panhandlers and buskers. Busking is possible only during day light hours. Although set up for panhandlers, police often insist street performers must be confined to the blue boxes. Performing outside the boxes can result in 60 days in jail and a $500 fine. Using a map of the Downtown Core District, I am documenting each blue box with some of Orlando’s most unique performers.

Blue Box 10 on the corner of Orange Avenue and Robinson Street no longer show any signs of the original blue dotted lines that define the boxes. It must have been spray washed clean. The city ordinance however states that a performer can use the blue box even if the lines can not be seen.

Jeff Ferree who works at the Orlando Shakespeare Theater volunteered to juggle. He deftly juggled bowling pins but the crowning act came when he juggled spaghetti. He placed a message on Facebook announcing his performance and several of his friends showed up to watch. Drivers passing by also got to witness this spectacular performance. Juggling cooked spaghetti is a challenge, because you can wad the noodles up into balls to start, but those balls break apart in mid-flight becoming a sloppy mess of wet strands. Jeff tried wrapping the noodles around juggling balls but the same chaos ensued. The joy in the performance wasn’t his success, but the chaos and slop in the attempts.

This area where Jeff juggled has a nice grass covered empty lot and I have heard that food trucks might be able to set up shop there soon.This is only rumor however. I looked up the City’s policies on food trucks downtown, and it is not likely downtown workers will be offered the variety that food truck vendors would offer.

Which areas prohibit mobile food vending?

The City of Orlando cannot approve vending along International Drive or Semoran Boulevard; there are special zoning overlays that prohibit vendors.

The City prohibits the selling food or merchandise on city streets and sidewalks (Sec. 54.27).

The City prohibits sales of food and drink within public parks, recreation areas and facilities, except under concession agreement approved by the city council; these are requested at the City’s discretion.

The City prohibits vending, services and sales of goods on any public or private street, public parking lot or public property.

Special events with an 18A permit approved by the Police Department may include food vendors ancillary to events.

I did not find any city ordinance that prohibits the juggling of spaghetti.

West Side Story rumbles into the Shakes.

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West Side Story will be performed in the Margeson Theater at the Orlando Shakespeare Theater, (812 E Rollins St, Orlando, FL) from September 7th to October 9th. I Stopped into the scenic shop to see the New York City set under construction. Jeff Ferree explained that carpet had to be installed on the second tier of the set, to reduce noise as actors walked. Jeff used the lift to get a roll of carpet up and then three stage hands rolled it out. One corner hung precariously over ledge. If anyone stepped o this overhanging carpet they would fall to the stage floor. Jeff used a carpet knife to cut away the excess carpet. To try and smooth the carpet out, he leaped forward multiple times like a kangaroo to try and stretch the carpet flat. 

At the same time lights were being turned on and off from the lighting booth. Someone with a walkie talkie confirmed when the correct lights came on. A few were out of place and will likely be replaced. The large bridge like structure is part of the set that is lowered into place during the fight scenes. Jeff showed me the set rendering designed by Jim Hunter, and it will look gritty and gorgeous. Large sections of steal mesh fence need to be scavenged for stage right. There is a virtual walk through of the set which is apparently quite impressive. 

West Side Story is based on a concept of Jerome Robbins, a book by Arthur Laurents with Music by Leonard Bernstein and Lyrics by Stephen Sondheim. Idealistic young lovers Maria and Tony find themselves
caught between rival street gangs, the American Jets and the Puerto
Rican Sharks. Their struggle to survive in a world of hate, violence,
and prejudice is one of the most beautiful, heart-wrenching, and
relevant musical dramas of our time. West Side Story’‘s legendary jazz,
Latin, and classical-inspired score features the treasured songs
““Something’‘s Coming,“” ““Tonight,” ““I Feel Pretty,” and ““America.“The movie came out the year I was born, and the story is still as fresh, vibrant and reliant as it was back then.” Tickets are between $18 and $33.

Assassinations and Other Macabre Tales at Fringe.

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Jeff Ferree presents Assassinations and Other Macabre Tales at the Orlando Fringe Festival. This 15 minute show is located in the most intimate venue at the Fringe. It is located in closet near the volunteer staging area in the John and Rita Lowndes Shakespeare Center. Hanging from the ceiling are tortured presidential heads shot through wit arrows. The blue curtains lining the space along with a presidential seal, are reminiscent of a White House press conference.

The program describes the show as, “Creepy true stories of the American Presidency told to you by puppets.
Held in a dark intimate theater filled with the macabre. It’s the
stories you wish they would have taught you in school.”

The two primary puppets are male and female Native American corpses. They are incredibly believable as decomposed mummies. The story centers around Curse of Tippecanoe an Indian Curse that has caused an American President elected or re-elected in the last 100 years, Every U.S. President elected in 20-Year Intervals Has Died In Office. Among those affected were from William Henry Harrison (elected in 1840), Abraham Lincoln (elected in 1860),  James Garfield (elected in 1880), William McKinley (elected in 1900), Warren G. Harding (elected in 1920), Franklin D. Roosevelt (elected in 1940), through John F. Kennedy (1960). Ronald Reagan, elected in 1980, was wounded by gunshot but survived and George W. Bush (2000) survived an attempt on his life unharmed.

When a hanging was mentioned a tiny rag doll with a tiny penis fell over the stage and hung in the glow of a red Christmas light. there were other multi media effects that shocked the packed in audience (up to 13 people can cram into the closet). This was the first Fringe show for one volunteer crammed into the venue along with me. Be sure to find the closet and, experience the horror for yourself.

The Trojan Rabbit.

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Jeff Ferree created this life sized Trojan Rabbit. He works in the scene shop at the Orlando Shakespeare Theater, so he’s good at building stuff. He based his design on the Trojan Bunny in Monty Python and the Holy Grail. The Bunny popped up all around town, to promote the Orlando Shakespeare production of Spamalot. First Thursday

This sketch was done at Earth Day which also happened to fall on the Same day as the World Wide Sketch Crawl. I put out an invitation on Facebook to host the Orlando Crawl and about 5 or 6 artists showed up during the course of the day. As we sketched the rabbit, most of the crawlers Sat on the retaining wall to my right. I sat leaning back against a palm tree, and right next to me was a water bowl for dogs Which was used quite often by parched over heated dogs. The smoothie truck was quite popular among the humans who also wanted to cool down. I believe it was The Art Reach people who started blowing bubbles that floated in to the scene.

Jeff used the rabbit to attract peoples attention and then inform them about Spamalot. As I did this sketch,  I realized that there was nothing inside. I later contacted Jeff, and suggested that the bunny could be a good art gallery. When the bunny was moved outside the Shakespeare theater during the International Fringe Festival, Jeff allowed me to mount a show of Fringe related sketches inside. After Earth Day someone actually stole the bunnies tail. Who would steal a bunny tail? It makes for an odd useless trophy. Jeff let me use a scene shop drill which made it easy for me to mount the frames to the walls using brackets which made it near impossible to take a frame off the wall much like paintings in hotel rooms. The bunny was retired after its last appearance outside the Orlando Museum of Art for an animal themed First Thursday, which is a bit of a meat market for singles with some art. Once again I mounted prints inside. I don’t think many people ventured inside.

Spamaot costumes get some loving care.

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I went to the Orlando Shakespeare Theater (12 E Rollins St, Orlando, Florida), to sketch the preparations for the upcoming production of Spamalot. At the entrance to the theater, the giant Trojan Rabbit held a Spamalot banner. Jeff Ferree who built the bunny, works in the scene shop and advised me on the sketch options. He was working on a series of four inch deep wooden clouds that will illuminate thanks to a string of old fashioned big bulbed Christmas lights. It was a daunting job with the all the graceful jig saw cuts needed. He showed me the set which was insanely colorful and over the top like a Las Vegas production. The entire proscenium was surrounded by large bulbs like a marquee.

Jeff told me that all the costumes were rented from the national tour of the show. He walked me to the costume shop and that is where I settled. All the costumes suffered from constant wear and tear and close to a dozen seamstresses were at work repairing the damage. Each costume had to also be adjusted to fit the actors. Twice actors came in to have their measurements taken. I was graciously set up at a table near the air conditioning unit and I was warned that when it kicks on it can be quite loud. I was deep into the sketch when it burst to life. I almost jumped out of my skin.

Jeff searched the costume shop on a quest to find the golden crown worn by Tim Curry in the original Broadway production of the show. Unlike King Arthur, his quest was a success. With some coaxing he got me to wear the sacred coronet. The original  Broadway show opened in 2005. The book and lyrics are by Eric Idle and the music is by John Du Prez and Eric Idle The production won the Tony Award for Best Musical
and was nominated for 14 Tony Awards. The final
performance was in January of 2009. After 35 previews and 1,575 performances;
it was seen by more than two million people and grossed over $175
million, recouping its initial production costs in under six months.

The Lady of the Lakes wears the gorgeous green gown with the sea shell shaped bustier.  An artificial leg sat on a table encased in armor. This clearly must be the leg of the dark knight who looses his leg in a sword fight only to claim it as a flesh wound. An armored breast plate stood next to the leg. A hole was later plumped to some flexible PVC tubing which I suspect will be used to spew blood. On the table next to me, an artificial head wore a knights helmet. A bulky shoulder piece had loose tubing and meaty viscera in the gaping neck wound. I believe this knight fell pray to a killer rabbit attack.

A delicate white gown was covered in sequins requiring hours of intricate repair. A multi layered garment with a rainbow of ruffly frills turned out to be vivacious and bouncy sleeves worthy of Carmen Miranda. Clearly this is not a show about subtly. The title of the play comes from a line in the movie Monty Python and the Holy Grail, “We eat ham, and jam, and Spam a lot.”

The Orlando production of Spamalot opens on September 9th and runs through October 11th.  Be sure to get your tickets now. I suspect many performances will sell out.

WTF? (What the Fringe?)

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The 2014 23nd Annual Orlando Fringe Theatre Festival takes place May 14th-27th in Orlando’s Loch Haven Park. Venue locations are within Lowndes Shakespeare Center, Orlando Rep (corner of Princeton and Mills)-812 East Rollins Street, and The Venue (Virginia Dr.). Kid’s Fringe is located at the Menello Museum (across Princeton from Loch Haven).

The Fringe is…

100% UNCENSORED

100% UNJURIED

100% ACCESSIBLE 

100% of $ from ticket sales go directly to the ARTISTS

Fringe volunteers manned the information table inside the Orlando Shakespeare Theater while Jeff Ferree promoted his puppet show “Girl Who Fell Up a Chimney” in his bright conical Gumbyesque outfit. Jeff waved to me, and I gave him a stiff armed wave in return. At the information table you could buy the $9 buttons which are needed to get into any show as well as the Fringe program which lists all the shows.  There are about 100 shows so the choices are daunting. The best way to find out what you have to see is to hang out at the beer tent and ask around to find out what people have seen and loved.


While doing this sketch, I was given two tips. Nashville Hurricane is “Frigging Amazing” according to Curtis Meyer. I was also told by Karen that Take Out the White Trash was laugh out loud funny. Actress Michelle Knight walked up to the information table. Michelle just completed a run of Disenchanted which is a take on Disney princesses who didn’t exactly live happily ever after. This hilarious musical comedy was first premiered at the Orlando Fringe several years ago as Bitches of the Kingdom, and now it is headed to off Broadway in NYC. This is a great example of how the Fringe is a great place to launch a creative concept.

If there is a show you feel I should see and sketch, please leave me a comment!

Cardboard Art Festival

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On Friday January 24th, I went to TheDailyCity.com Cardboard Art Festival at The Orange Studio, (1121 N. Mills Ave., Orlando, FL.) This was the second year of the Festival and it was bigger and better than ever. The first thing I explored was an interactive wall by Nathan Selikoff. Cardboard tube gutters could be re-arranged on a pegboard to create a gravity maze for colorful wiffle balls. A large cardboard funnel at the top of the wall was always the starting point and it was high enough so you always had to throw the ball up. I missed the shot more than a few times and had to scramble as the ball rolled around on the floor.

Evan and Christie Miga created a huge storybook interactive display that told of an adventure using a series of dioramas and sculptures. There was a large cardboard octopus and a girl riding an immense bird. The wings could be flapped by turning a delicate crank. A moving street scene was depicted in one diorama that had a magnifying lens to amplify the view as you traveled down the street. The illusion was complete when you turned a cardboard tube that represented the street. There was even a Zoetrope that used a cardboard tube with slits in it that when spun, created the illusion of motion from a series of images inside the tube.

Doug Rhodehamel had a large collection of small cardboard robots on display. Nicki Equality Drumb and Rachel Equality Gardner had blue and pink male and female stand up photo ops set up with equality hearts. With supplemental blue mustaches and pink ribbons, everyone wanted their picture taken. Beautiful women wearing couture cardboard dresses strutted through the crowd. John Glassman Gardner was taking pictures of people that he then pasted in the windows of cardboard skyscrapers. Jeff Ferree created four foot tall Gumby like cardboard creatures that were quirky and brightly colored. It was a fun colorful show and once people started drinking and dancing, the place lit up. If you didn’t go, you missed a hell of a good time.

The Taming of the Shrew

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Jeff Ferree suggested I stop in at the Orlando Shakespeare Theater to sketch the early stages of a set build. Jeff told me the inner structure was like a giant erector set and his description was spot on. A large crew of people had to work as a team to raise the large platform panels into place. It was like a good old fashioned barn raising. Wood planking was ready to be put down on the stage floor. Jeff showed me the blue prints for the set which would become a wild west town. The Scenic Designer is Kat Conley.

The show is a fresh take on William Shakespeare’s The Taming of the Shrew. Set in the Wild West and directed by Orlando Shakes Artistic Director Jim Helsinger. “The sweet and amiable Bianca can have her pick of suitors, but only once
her sister, the much less charming Kate, is married off. Fortune-seeking
Petruchio rises to the challenge, but can he tame this fiery-tongued
shrew? Set in the tumultuous Wild West, Shakespeare’s unruly comedy
gallops onto the Margeson Theater stage in a lively, high-energy battle
of the sexes with a couple hell-bent on confusing and outsmarting each
other right up to the play’s unexpected conclusion.”

 Mark Your Calendar! The Taming of the Shrew
began September 11 and runs through October 6, 2013 at the John and
Rita Lowndes Shakespeare Center in Loch Haven Park. Tickets, priced at
$17-$40, are on sale now at (407) 447-1700. On Thursday September 26 you can stay after the performance for an
informal moderated discussion with the cast and members of the artistic
team. On Sunday October 6th go to the prologue series which starts 30 minutes before the show. An actor will lead the audience through a discussion of the plot, themes and major characters in the production.