Elevator Girl

January 2019

Scenic & Props Designer

Vanguard Arts Collective

The Edge Theatre

 

Dir. Adrienne Matzen

Projections Des. Erin Pleake

Lighting Des. Michael Goebel

Costume Des. LaVisa Willilams

Sound Des. Steve Labedz

Illustrator John Shane

SCENIC DESIGN

Elevator Girl was never meant to be more than an urban legend, a sexual revenge fantasy created by Vanessa and her graphic illustrator boyfriend. But when the comic superhero unleashes her boyfriend’s darkest fantasies, as well as a flesh-and-blood copycat, Vanessa must stop EG in her tracks—with the truth.​

"First and foremost: Megan Chaney’s scenic design for “Elevator Girl,” a comic-book panel-inspired set with a functioning elevator door, immediately conveys a sense of the universe that we’re stepping into for the evening in a playful and exciting manner." - Ben Kaye for New City Stage

The characters of Elevator Girl are 3D people navigating a 2D world, provided by the relatively flat and minimized black and white world behind them. The props and people of Urbanville stand boldly against the cartoon textures of the backdrops. Peter's apartment and Vanessa's office flank a sliding multi-use elevator door at the center of a life-size comic page. The top panels offer dynamic projection surfaces, separated by a violent slice through the center of the space. The build was executed with a budget below 500 dollars, and in a 3-day build window.

Colorado

July 2017

Scenic & Props Designer

Vanguard Arts Collective

The Edge Theatre

 

Dir. and Projections Des. Chris Owens

Lighting Des. Michael Goebel

Costume Des. Hanna Wisner

Sound Des. Joe Palermo

"Thank you all! Thank you for loving me so much." So ends the victory speech of 17-year old Tracey Ackhart upon her coronation as Miss Late Teen Colorado. The "loving," alas, soon ends. Days before the national pageant in Virginia Beach, Tracey disappears, hurling the rest of her family, whose lives until then had revolved around her, into disarray. Simultaneously satirical, witty, tender and unsettling, Colorado is a play about the dreams of a family, and the traps set to keep those dreams far, far away.

The scenery for Colorado is intended to give the characters each their own small pocket of existence to live in, isolated from each other. Each space is meant to be as real to life as possible, to reflect the harsh realities the characters are mired in. The backdrop pieces keep the mountain scenery of the state in their world in a distant abstraction. The set was executed within a minimal budget, with no stock pieces to pull from. All scenery was executed within a 3 day build window, and all walls and platforms were able to be removed from the space nightly  to accommodate other productions in the theatre.

Chicago Afterdark

March 2018

Set Dressing & Design Assistance

The Charnel House

Dir. Tobi Mattingly

Lighting Des. David Trudeau

Costume Des. Jazmin Aurora Medina

Inspired by the artwork of Richard Prince and set in a noir-esque alternate version of the city, Chicago Afterdark is a pair of one act plays that serve as a spiraling look at betrayal. Playwright Tate Geborkoff has drawn on both poetry and playwrighting to write one of the two acts entirely in poetry and the other as a more of a traditional script. Director Tobi Mattingly has further repurposed the work with layers of devising pulling from her background in movement and physical theatre. The result is a work of moving performance art unlike anything else happening in the Chicago storefront theatre scene.

The Charnel House provided an ideal base for the "Afterdark" to be built upon, so scenic additions were kept to a minimum. The original proscenium seating arrangement was replaced with cocktail tables in an alley, and custom patchwork tablecloths were sewn for each table. The ceilings and entryways were adapted with hanging fabric, intended to echo key language in the play of spiderwebs and rough stitching. Insence was added to the space to further draw the audience into the Afterdark. Fabric and texture were integral pieces of the script language, so dressing was limited where possible to soft scenic elements.

Whatever We Want

October 2014

Scenic Designer & Paint Charge

Vivarium Theatre Company

Bo-ho Theatre: The Heartland Studio

Dir. Megan Johns

Lighting Des. Oriana Dentici

Sound Des. Matt Beard

Whatever We Want follows two sisters over the course of 15 years as they're separated by their parents' divorce and struggle to maintain their relationship. The show deals with reconciling the reality of loved ones with the way they exist in our minds, and learning to meet the adults we loved as children. There're some laughs too!

The sisters' continuing questions are all based in their childhood memories, so the worlds visited through the play are all built on top of the remnants of the dock that they start in. The paint design for the floor and walls is an abstraction of that pond and woods that their best memories were made in. The scenery is all built out of cubes that are re-arranged to create 7 distinct locations. The design was executed with a minimal budget and to work around a lack of backstage storage space for scenic pieces. 

Jekyll & Hyde: The Musical was presented as an independent senior thesis at the Dairy Center for the Arts. The musical tells the story of the doomed scientist's fatal experiment through deeply moving music. Whether it’s drug use, the struggle to find one’s self, or mere desire, Hyde lives in us all.

 

The design is intended to create an abstract space for the events of the play that reflects the Victorian origin of the story through a modern lens. The concrete objects in the scenery, like the archways, are based off of locations in Whitechapel, London from the era and crime scenes of Jack the Ripper. These elements have been doubled when possible to echo the dualities within the story. The colors of the set provide distinct tones for scenes placed in specific areas, and foreshadow the locations of each of Hyde's murders.

Jekyll & Hyde: The Musical

April 2013

Scenic Designer, Prop Master & Paint Charge

Dairy Center for the Arts: East Theatre

 

Dir. Daniel Leonard

Music Dir. Raechel Sherwood

Choreographer Jenn Calvano

Lighting Des. Michael Bateman

Costume Des. Charlotte Ballard

Novelist Franklin Woolsey dies mid-sentence, but his secretary Myra continues to take dictation. Attacked by skeptics, the press, and Woolsey's jealous widow, Myra sets out to prove she is more than just an artful forger. Is she trying to steal Woolsey's legacy or does she truly posses a gift born from a relationship that transcends the professional? An unusual romance blooms from the creative process as Ghost-Writer walks the fine line between fact and fiction. 

 

The scenery is intended, rather than to create an exact replica of Woosley's studio, to reflect Myra's memories of the space. Details essential to the telling of her story, or conveying the tone of the space are included, while others are left out. The breaks in the walls allow them to "fade" into the background rather than simply stop. The colors of the set are intended to create a warm, nostalgic sepia tone for the production to live in.

 

Ghost-Writer was nominated for Outstanding Production of a Play at the 2013 Colorado Theatre Guild Henry Awards.

Ghost-Writer

February 2013

Scenic Designer & Paint Charge

Boulder Ensemble Theatre Company

Dairy Center for the Arts: Carsen Theatre

 

Dir. Josh Hartwell

Lighting Des. Kerry Cripe

Costume Des. Brenda King

Sound Des. Andrew Metzroth