The Huntington Theatre:
Scale models and technical schematics for Cristina Todesco's get translated into samples before full scale work begins.
The Huntington Theatre:
The gold paneling that makes up the floor and walls of the set went through many test treatments before the final finish was chosen.
The Huntington Theatre:
The panels begin with a coat of hot pink paint. They are then covered in sheets of fake gold leaf.
The Huntington Theatre:
Scenic Artist Chelsey Erskin applies each small square of leaf to hundreds of square feet of the set.
The Huntington Theatre:
The adhesive covering the set surfaces dries before being treated to its final finish.
The Huntington Theatre:
Ready for their trip to the Calderwood. The finished set pieces are loaded on a truck and assembled and installed on the Wimberly stage.
The Huntington Theatre:
Meanwhile, the walls of the kitchen (which sits inside of the gold box set) come together. You can see the paint that will become the "tiled" backsplash and the "hardwood" cabinets.
The Huntington Theatre:
The assembled cabinets are given a countertop treatment. The garish orange color is used to create a bolder wood grain look on stage after staining.
The Huntington Theatre:
Finding the coffee shop bench of your dreams is sometimes a matter of staining an existing piece to perfection.
The Huntington Theatre:
Costume Designer Mary Lauve matches embroidery floss to recreate a pattern for Joseph Marrella's taqiyah.
The Huntington Theatre:
The team of electricians loads in all of the lights for the sets. Here, Master Electrician Kat Herzig works on an upstage row of rigging.
The Huntington Theatre:
Before the house is filled by the audience, the whole team takes over the house. Sound, Lights, Costumes, Sets, the Director and more spend a week sprawled across the orchestra fine tuning the whole performance for its debut.