Abigail 1702
By Roberto Aguirre-Sacasa
Properties Supervisor
Assistant Scenic Designer
Director - Jessica Holt with John-Michael Marrs
Mentor - Jordan Rousseau, Michael Sullivan
Properties Assistant - Henry Beard
Scenic - Michael Sullivan
Costumes - Alivia McGuire
Lighting - Josh Wilson
Sound - Lindsey Swyers
Selected Projects
Man in Gray Book
This was made by altering a book selected from storage. The pages were adhered together with watered down wood glue and held together with clamps while drying to create to blocks of pages. A hole was cut in the center of each block and then this hole was filled with LED strip lights. Top pages were designed to look like pages in an ancient evil book since the Man in Gray is a personification of the Devil in the story. These top pages were then adhered to sheets of painter's plastic with spray 77. These sheets of painter's plastic were detailed with the main character, Abigail Williams', name as, according to the script, Abigail has written her name in the Man in Gray's book. When these top pages were adhered over the block pages, the LED light strips would provide a glow that would reveal the writing on the painter's plastic.
- Collaboration with mentor, Jordan Rousseau
Man in Gray Staff
This staff was inspired by animals typically associated the the devil such as snakes and goats. This stage was made by cutting a dowel rod to a suitable height for a staff for the actor and then creating an aluminum foil snake shape and wrapping it around the dowel rod. This aluminum foil base was then covered with EVA foam clay which was sculpted to appear like a snake wrapped around the rod. A soldering iron was used to create scale on the body of the snake and detailing on the head of the snake which was also crafted from an aluminum foil base and EVA foam clay. The bottom of the staff was created to look like the foot of a goat. It was cut from wood using a bandsaw and then shaped using a belt sander and hand sanders. A hole in the top was cut using a drill press. The foot was then wrapped with fur fabric which was adhered with hot glue. The whole foot was the spray-painted with black and then a glossy clear coat on the hoof. All of these pieces were combined and then the snake section was painted green. The body of the snake was also painted with heat-activated paint so that the coloring of the snake would change according to the heat coming from the actors hands. Additionally, the eyes were painted with glow in the dark paint. These additions were to add magical elements to the staff.
- Collaboration with mentor, Jordan Rousseau
Leeches
For this play, the script called for the application of leeches to one of the actors. To achieve this effect safely and realistically, fake leech lures were cleaned and added to a viscous mixture of water and hair gel. This mixture allowed the leeches to be suspended and more visible rather than sitting at the bottom of the jar. Additionally, the hair gel acted as a safe adhesive for the leeches to the actor. Finding a method to adhere the leeches to the actor onstage was the challenge for this project. Special effects make up was not an option since the leeches had to be applied on stage by and actress. Additionally, the outdoor nature and limited crew of this production due to pandemic restrictions prevented any backstage adjustments or applications.
Hanging Set Decoration
These pieces of set decoration were designed to act as a bridge between the indoor and outdoor worlds of the play and mimic the drying herbs that could be used for medicine by the main character. Additional plants and onions were added to create and upside down garden effect and provide a visual for the onions referenced throughout the play as a means of deterring evil. Small bottles filled with different varieties of tea were also hung on these branches to mimic ground herbs and spices. These bottles further developed the magical feeling of the world of the play by creating a twinkling effect in response to the stage lighting and blowing wind. These decor pieces would be hung nightly on rope tied between the branches of the trees surrounding the set platforms.