There has also been a lot going on in the Paint shop. Charge Scenic Artist Roberto Gallo (right) and his staff have been producing some amazing faux finish work. We're not surprised at the quality of their work, but still it is amazing to look at. The set also features several murals - some of them painted directly on the walls as Roberto is doing here, and some hung on the wall as artwork. These murals took about four weeks to paint. They were stored safely away yesterday as I was taking photos - I'll save them for another day.
All of the walls are paneled with burled white oak, or at least they are painted to look like burled oak. The panels are taped off in sections that will each be treated slightly differently (lighter and darker) to bring greater texture to the set and break up the large expanse of walls.
The floor is a high gloss black tile. This picture shows a few stacks of them ready to install.
There's no less going on in the costume shop - and I'll bring you more of that next week as the clothes get closer to the finished product. I'll give a quick shout out to Bloomingdale's (Chestnut Hill), who are helping us out by providing some the clothing for the character of Gary Essendine played by Victor Garber.
The skirt pictured here was sent out to be pleated - we put it on the form yesterday when it came back so costume designer Mariann Verheyen (Love's Labour's Lost, The Mikado) could take a look. The patterns are created by the dots, the pleats and the way it was draped. They are really fascinating to look at, though not entirely planned, and really give this garment some life. I can't wait to see what happens when it's on someone and moving.
I think all of the women will have a hat or two. Our master Craftsperson, Denise Wallace, who also teaches millinery, has begun the process of building these. It all starts by creating the shape on a form, pictured left. I'll bring you a few more photos of these next week as they take shape.