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Wyeth Airlines Flight Thirteen by Lena Barnard Produced by Texas Theatre and Dance
Scenic and Lighting Design
Scenic & Lighting Design Ron Collins
Direction Andrea Hart
Production Design Logan Smith
Costume Design Court Rogers
Art Direction Chris Conard
Video Direction Brooklyn Garza
Sound Design Phillip Owen
Photography by Jacob Eaker
Wyeth Airlines Flight Thirteen is a story that centers around four friends in the seventh grade who are experiencing life in a whole new way and losing their ability to play. Set in a playground, a classroom, a marsh and an airplane, Wyeth Airlines Flight Thirteen is a journey through imaginary and reality spaces that was staged during the Pandemic.
Produced without a live audience, the production was filmed and then later streamed online. The director's concept of the production placed the story within a "living graphic novel.' In consideration of social distancing, we designed a space that was open and adaptable to realize the four different locations. I served as the Scenographer in this piece in designing the scenic elements and lighting.
The main concept of placing the characters outdoors on a blacktop playground is where the large hopscotch design came from. We then incorporated lines to give the illusion of the playground being used for multiple purposes.
For the production, we filmed the actors dialogue and video in a green room studio and then, we filmed the fully blocked show as the actors were lip syncing (behind their masks) to their dialogue. These two were composited together (shown above) to create the final product. Apart of the scenic design was a forty foot wide green screen that gave us the ability to animate live the marsh scenes and added a layer of depth to the production.
To light the staged part of the production, I utilized a Repertory Light Plot comprised of High End moving lights, ETC Source Four LED Lustr +, and conventional fixtures. Since time in the theatre was going to be limited, I utilized ETC Augment3d, but the repertory plot was drafted into a 2d/3d hybrid, so alongside my colleague, Bill Rios, we built assets that would allow us to import the plot into the Augment3d software. This gave me the ability to use the movers more effectively and efficiently.
As the Scenographer, I also designed the spaces where the actors were filmed to be able to see their faces on the screen. Each room had a green screen, their school desks, and lighting to light the actors and green screen.
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