Becoming Othello: First Pass

Posted on by Thor

The first pass at creating a poster for Becoming Othello for the Orlando Shakespeare Theater involved a simple split screen portrait. On the left the actress smiles in a warm inviting portrait and on the right she is depicted in a severe cold portrait as the murderous Othello. Debra Ann Byrd is a female actress who embraces playing the male lead in Shakespeare’s Othello. This play is about that journey. Debra wrote and performed this solo show.

Othello is a noble Moorish general whose life is destroyed by his ensign, Lago, who manipulates him into believing his wife, Desdemona, is unfaithful. Consumed by jealous rage, Othello murders Desdemona, only to learn of Iago’s deception. Consumed with grief Othello then commits suicide.

With such a dark story line, my portrait poster lacked any discernible action. I liked the classy serif typeface I had picked for the title but that might miss the mark as well for such a bold dark story line. This poser image left me feeling uneasy. I think it has to do with her smile on one side and serious neutral expression on the other. Perhaps a neutral expression across the board would have worked better but now is not the time for second guessing since this concept was not approved. The challenge was in making the two sides of the portrait the same yet dissimilar. It was a fine line to walk.

Since a verb would be needed, my mind turned to the moment of murderous rage in the play. That moment would end two lives in a pointless tragedy. If that moment could be captured then that would catch a viewer’s attention.

Venus in Fur: First Pass

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With the first pass at a poster for Venus in Fur by David Ives, for the Orlando Shakes, I was intrigued by the intricate detail of fish net stockings. Much of the image features hills and valleys of flesh covered in fishnet. I decided that was too abstract an idea to dominate so much of the poster, so I added the legs and whip to make it clear fishnet stockings are found on shapely legs. Then I added the reclined female odalisque whose outline is defined by the flow of the whip. Then of course plenty of black fur was needed. It was a strange combination of thoughts, but it has the visual feeling that I wanted.

Venus in Fur is a bold and unexpected play about an audition for a part in a play. The director, had been through a solid day of auditions for the female lead in his show, but hadn’t found just the right woman for the part.

A disheveled woman came in late out of the rain and apologized for being late. She had to convince the director that he needed to stick around for this last audition since he was ready to go home. She quickly got ready. Since the male actor who had been reading the parts, had already left, the director had to step in and read opposite her.

Over the course of the audition the actress began to dominate every scene and then dominate the director. Sexual tension rose, and the director began to cower and become subservient to her sadomasochistic demands. I began to wonder if this was all written in the script or had the two of them gone off on a tangent. This is definitely a show that I hope to see in person someday. I regret not getting in to sketch a live performance at the Shakes.

This pass at the poster was me experimenting to catch the flavor of the show, but I knew that another version that I was working on at the same time was more direct and powerful. The title treatment felt perfect, so at least that element would make it to the final cut. The other tiny element that I felt would be needed for the poster was the elegant hand covered in black shiny leather. The gloved hand is such a tiny piece of this puzzle, but I felt it told more about the story than the fishnets that first caught my attention.

So I kind of knew that this version of the poster would not fly. It was time to go back to the drawing board and try and nail down something sexy but more solid. Since I could not be sure who the actress would be, I was looking for ways to hide her identity. This pass at the poster felt a bit scattered. The best ideas come with plenty change and evolution.

2022 Christmas Carol

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The 2022 version of A Christmas Carol poster for the Orlando Shakespeare Theater (812 E Rollins St, Orlando, FL) was built around the vision of Christmas past with the whole cast having a grand time dancing at the Fezziwig Christmas party. Fezziwig was Ebenezer Scrooge‘s jovial, generous first employer. He was a “foppish” and jolly, stout man, and he hosted a lavish Christmas Eve party every year for his employee. He stands as a stark contrast to Scrooge’s stinginess.

Scrooge and Christmas past are far back in the crowded room near the torch at the windows. I put the focus on Fezziwig and his wife dancing.

My decision to leave Scrooge in the background would have to be changed, so this was not the final version of the poster. A number of faces of members of the cast were changes and Scrooge an Christmas past took center stage to replace Fezziwig and his wife.

I painted Scrooge and Christmas past with blue tones to separate them from the crowd. In the play no one ever sees scrooge of Christmas past, so if they danced then perhaps others at the party would have danced right through their holographic visages.

With so much intricate detail this poster was a joy to work on while the changes kept me adjusting the composition throughout the process. Tiny Tim had to be added and brought to the foreground. The woman that Scrooge loved and lost is dressed in blue and dancing in the mid ground. She has her back to the audience and is facing scrooge but does not see him. That is how many relationships erode. Someone you once trusted becomes a passing acquaintance.

I like the chaotic flavor of this poster. The Shakes had sent me photos of the cast dancing from past productions, so I had plenty of reference to add people dancing, drinking and having a great time.

Charlotte’s Web

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I have been updating my website and getting more work loaded into the galleries. When I load an image I need to search for it based on it being shared here on AADW first. I was surprised that I had not shared the Orlando Shakespeare Theater poster for Charlotte’s Web. At the time the show was being performed, I had my back against the wall with lots of illustration work. I did not take the time to see and sketch the show. I am certain that it was an adorable children’s show. I have read the book and know it is a heart wrenching and beautiful story. I did do another version of the poster which was more of a cartoon rather than an illustration. I will share that tomorrow.

My website was in limbo for quite some time because all the page links started to fail. I spent an entire day last weekend calling Bluehost to try and figure out what needed to be done. Something had happened on their end and an 8 hour scan had to be done which ultimately fixed the issue. The problem was with the server. At first an agent thought it might be a malware attack and he scanned for that. Thankfully it was not a virus. The fear with that is that everything could just evaporate and disappear. I am very aware now that n=anything digital is temporary. At some point the internet will cease to exist and any information stored there will disappear.

Most of the silent era films no longer exist. That is because film is a delicate medium and prone to first degrade and then ignite on fire. An estimated 75% to 90% of all American silent films are permanently lost, largely because they were burned, allowed to decompose, or destroyed. Major causes included the high volatility of silver nitrate film stock, which caused massive, spontaneous studio vault fires.

Thomas Edison made the earliest silent films. His films still exist because he printed every frame on paper as well as film and thus his early films can be recreated whereas other films went up in smoke. I suspect that digital will have a similar issue. That which is not put on paper will in the end be lost.

Henry VI Part 3: The Rise of Richard

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I was excited to sketch a performance of Henry VI: The Rise of Richard at the Orlando Shakespeare Theater (812 E Rollins St, Orlando, FL). I sat in row  Z. Ushers were confused, they didn’t realize there was a row Z.  I found a spot in the back and scooted to a ¾ view of the stage just before the show opened when I was sure that there was an open spot for me. Where I was seated was perfect because there was no one behind me who might be distracted as I threw lines o the page.

The sketch is a composite rather than a specific moment in the play. I sketched Richard Duke of York (Timothy Williams) when he claimed his seat at the throne. Beside him is The Earl of Warwick Richard Nevelle “the King Maker”, (Benjamin Reigel). Standing in front of them both is the twisted and hunched  Richard III, Duke of Gloucester (Mark McClain Wilson).

The drama unfolded between the House of York (White Rose) and the House of Lancaster (Red Rose). The crown changed hands multiple times. Ascending to claim the crown was often a murderous affair. King Henry VI of the House of Lancaster (Trevor Spence) was a rather weak and pious ruler. He rose to power as a child. He was ultimately captured imprisoned and then murdered. Murder seems to be a sure way to rise to the claim the crown and sit on the throne.

The hunchback Richard III played supporting roles when his brothers rose in power to claim the crown. However he despised the happiness of his brother Edward (Walter Kmiec) who married  the beautiful Lady Grey (Rachel Comeau). The couple had a child and that child would have a claim to the throne someday. If Richard could not experience happiness and romance, then he would instead scheme and find a murderous way to rise to claim the throne. When Edward died, Richard realized the infant would have to be murdered. That would open his path to claiming the crown. As a king in 1450s England you would always have to watch your back.

There are only 2 more performances of Henry VI The Rise of Richard! Be sure to get your tickets to see who claims the throne.

Henry VI Part 3:The Rise of Richard, Final Poster

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Henry VI Part 3: The Rise of Richard is being performed at the Orlando Shakespeare Theater (812 Rollins Street Orlando FL) through April 19, 2026.

I went to a performance and had a great time.

Having won the battle of St. Albins, Richard the Duke of York descended to the throne of England. Later York is killed in battle. His son Edward the Black Prince took the crown and soon died as well.

The murdered king Richard had three sons, Edward IV, George Duke of Clarence, and Richard III.

Richard III was who I put on the poster. Richard III was just one of many who were in the whirlwind of deceptions and murder leading to the crown. The crown changed hands multiple times between King Henry VI who was pious and weak willed, and Edward who was the oldest son of York.

The only way to keep track of all the players in the war of the roses was to follow the family tree in the program and a chart summarizing who supported who in the power struggle. Though on the sidelines through much of the play, it became clear that the misshapen Richard III was willing to do anything to ascend to the thrown. The path to the throne would be bathed in blood.

When you enter the theater, you are given a sticker with a white or red rose on it. The white rose shows that you side with the House of York and a red rose shows that you support The House of Lancaster. At time in the show armies would rush down the aisles of the theater shouting White Rose, or Red Rose! Members of the audience would shout back in response. The play is mostly about a dysfunctional family who use murder to gain power and the crown. Pick you family crest wisely.

Tickets can be found of the Orlando Shakespeare Theater website.

 

Fat Ham Final Poster

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The final pass at the Fat Ham poster features the “to be or not to be” moment from Shakespeare’s Hamlet. Granted there is no mirrored skull or crown in Fat Ham, but it allows for anyone to know that the play is an homage to Hamlet. I switched from depicting the glamorous lighting of the finale of the play and instead focused on depicting the back yard barbecue.

Juicy (Je’Shaun Jackson) fills in for Hamlet who is visited by the ghost of his dead father and tasked with killing his father’s brother who is the one who murdered his dad. Juicy however, has a pleasant disposition an couldn’t hurt a fly.

Juicy performing Karaoke fills in for the famous To be or not to be monologue. Juicy sings Creep by Radiohead. IT starts off awkwardly but the slips into a dream sequence in which Juicy fells completely in control of the world around him.  It is at first humorous and then gloriously empowering.  It shows a creative and expressive individual embracing his uniqueness and taking flight.

The final poster had to embrace lightness rather than the dark to be more successful. There are so many moments of absolute joy and humor in the play and that had to overpower the dark themes. The photo taken for the theater program slipped back towards the darkness of reflecting on mortality. Juicy wears a black turban head wrap in the Orlando Shakespeare Theater production and it is an awesome replacement for the crown. I wish I had thought of it when I was working on the poster.

Costuming was by Jos N. Banks who also played Larry in the production. Larry shows up to the barbecue in uniform. This crisp militaristic uniform defines how he is seen by everyone. The Rev (Essex O’Brian) respects a man who has killed others. When Larry is alone with Juicy, he expresses a desire to be more soft and caring.

By the end of Hamlet almost everyone has died including the protagonist Hamlet. Fat Ham turns that ending on it’s head, deciding to celebrate acceptance and inclusion with a rousing and glamorous musical number. Chandeliers drop down from the ceiling and the lighting turns hot and exotic. Queerness is celebrated like a phoenix rising from the ashes.

Fat Ham runs through March 29, 2026 at the Orlando Shakespeare Theater (812 E. Rollins St., Orlando, FL 32803). Ticket prices range from $70 for the A signature series seats to $48 for the C signature series seats. You don’t want to miss Fat Ham.

Fat Ham Theater Poster First Pass

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When I did this first pass at the Fat Ham theater poster, I had not read the entire script yet. I did see a few YouTube clips from the Broadway production, and I was intrigued by the fabulous and exotic ending to the show. Now that I have seen the show at the Orlando Shakespeare Theater (812 E Rollins St, Orlando, FL 32803), I know that there is no crown in the production. Juicy (Je’Shaun Jackson) the main character in the show, isn’t a prince and he doesn’t see himself that way. He just wants to get a job in Human resources which is a normal everyday ambition. The show deals with queer black identity and juicy doesn’t try to hide who he is deep inside.

Like in Hamlet. Juicy does meet his recently murdered father’s ghost. Through this meeting Juicy learns that, his uncle and strep father had his father murdered with a shiv in prison. The Rev (Essex O’Brian) then immediately hooked up with the widow of the man he had murdered, Juicy’s mom, the beautiful Tedra, (Patrece Bloomfield). Tedra would marry anyone to keep from being alone. She needs chaos in her life rather than time to reflect and feel lonely. Her mantra is that if you keep a man fed, he will always be happy. The Rev, however, is bullying and aggressive, particularly towards her son Juicy. She turns a blind eye when the Rev sucker punches her son in the stomach. I suspect that after honeymoon period, the Rev’s aggression would turn towards her as well.

The show follows Juicy’s self discovery as he navigates a family barbecue where he doesn’t feel like he belongs. The original Shakespeare production of Hamlet is a definite tragedy but Fat ham is is more of a celebration of embracing differences. Tedra, Juicy’s mom exuberantly embraces her son’s unique qualities. Where as the Rev despised those same qualities. The barbecue is staged to celebrate the marriage of the Rev to Tendra and their differing world views become glaringly obvious.

The barbecue in the production is from Pig Floyd’s Urban Barbako which is right down the street on Mills Avenue from the Theater (1326 N Mills Ave, Orlando, FL 32803). Seeing how much the cast was enjoying the BBQ makes me want to stop by Pig Floyd’s to have a taste for myself.

Orlando Shakespeare Theater Lobby

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I have just finished the posters for next season at the Orlando Shakespeare Theater (812 E. Rollins St., Orlando, FL 32803). As I was crunching away painting the posters, I missed several sketch opportunities at the theater. Now that the work is done, I get to return to sketching theater live.

With Anna in the Tropics I was asked to depict the woman in a sensual nightgown with her lover behind her. It is ironic that a large box of typed information was placed over her chest. Perhaps my depiction was to sensual. I am learning what sells and what lines I should not cross.

The Hound of the Baskervilles was a comedy. I tried to make this clear with Watson holding a magnifying glass that made his eye super large, Sherlock’s quizzical expression as well as a dog with a big grin. Despite my efforts many members of the audience thought they were going to a dark mysterious show. I have seen the show before and it was hilarious. I am certain anyone who went to the Shakes performance was not disappointed.

I have done A Christmas Carol poster every year I have been painting these posters. This design reverted back to the first year’s poster which depicted Stooge holding up tiny Tim. I felt that first poster caught lightning in a bottle. This poster used photos from previous years’ show to tie it in with the actual costuming used in the show. Minor changes were made to the design like having Tiny Tim’s head overlap the title. I like the choice which helps to keep the characters large.

I love returning to the Shakes because I get to see the audience gather in the lobby with all the posters on the lobby walls. It is my one chance to see the posters at their full size all together. As a whole they all pull together. I think anyone seeing the posters will know that the same human hand touched each concept. I have seen what AI can do when designing posters. The results can be impressive technically, but for me they seem a bit impersonal, like clip art.

When I was working on the last batch of posters, I considered typing in a few words into an AI interface and seeing what the computer would spit out. I could not figure out the log in information with codes and passwords, so I abandoned my first curious venture. Instead I returned to painting by hand. Though the results look analog, I am working digitally on an iPad. The reason is that changes can be done much quicker digitally. Every element of the painting is on a separate layer and if a layer has to be altered I can just turn it off and try something new.

I have taken three months to travel Europe and follow my father’s footsteps at the end of WWII. It felt good to sketch with pen and paper along with watercolors. Decisions had to be made on the fly and there was no control Z to undo a pen stroke. Decisions had to be bold and decisive. If mistakes were made they reminded on the sketch and part of the process. It is that imperfectness that I love. Hopefully each sketch gets better and the bold decisions come faster. Having a machine make those bold choices for me seems unappealing.

The Hound of the Baskervilles: Final Poster

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For the final Orlando Shakespeare Theater poster for the Hound of the Baskervilles, I kept the seated poses for Watson and Sherlock Holmes. In the Hound of the Baskervilles, Watson actually plays a much larger role than Holmes since he goes to the Baskerville estate to investigate alone. It is a chance to see him use his powers of deduction, but he is as swept up in the legend of the huge hound as the townspeople.

Through the mystery and intrigue Sherlock was actually investigating from afar. The Hound of the Baskervilles has been adapted so many times for movies and theater production that it is a perfect fit for a comedic farce. Most people are well aware of the story. It was required reading for me in high school.

mangling, murder and mayhem can be extremely funny when resented with tongue in cheek. In this production actors hod ornate picture frames to portray the historic Baskerville family lineage. I always love paintings that come alive, by expressing emotion.

If you get a chance to see this production, I would highly advise it. It should be laugh out loud funny.