At my time at UNLV, I worked on multiple productions through the work-study program offered from the university and with their performance art center. This allowed me to gain experience not only as a carpenter but as a sound engineer and technician. I have learned technical skills such as reading drafts and drawings to construct the desired item and how to load in and out scenic elements.
Role: Carpenter
Following Violet's journey on a cross-country Greyhound in 1964, this set blends the orchestra members into the stacks of furniture. We manipulated large amounts of fabric to achieve clean, controlled draping to create an aesthetic sky with clouds look.
Role: Carpenter
Blending the reality for high schooler Agnes in 1995 Ohio with the fantasy world of New Landia, this production used multifunctional scenic pieces such as a 20 sided dice doubling as a chair or a 6 sided dice serving as a table. It also allowed me an opportunity to work with projections to add a dynamic visual layer to the fantastical world and to install a pulley system that gave the portal moveable wings to encase the projection screen.
Role: Carpenter & Sound Designer
Set in 1950s Brooklyn, New York, we use a turn table to switch between a family living room and the city. I was able to work alongside the technical director to build, not only the set, but install a hidden speaker in radio to add directionality to the production. Alongside constructing the set, I added a surround sound system to make the audience feel integrated in the show such as they were on the subway with the characters.
"Collaborating with the sound designer Victoria Wojdan has been one of the most rewarding experiences I have had working in theater." — Clinton Turner Davis
Role: Carpenter
Set in early 20th century Russia, this abstract set uses string that we carefully tensioned to play into the symbolism and metaphysical roots of the story. Creating moveable doors allows the actors to have mobility for entrances and create movement on stage.
Role: Carpenter
Taking a 1970s twist on this classic, we created metal trees covered in fabric that are secured to our grid 70 ft in the air to create an enchanted forest. However, the real star of the show is the camper van. We stripped the interior to manage the weight on our stage, added a push bar for stagehands, and added a fog machine so that when actors opened the van's door a cloud of smoke rolled out.
Role: Carpenter and Sound Board Operator
Switching between a tavern and a country house in 18th century England, we created a track system to allow main elements to seamlessly be taken on and off stage. For example to switch from the house to the tavern, the couch would retract upstage and a door would slide to reveal a fireplace to hide it. Given that actors will be using the second floor, we created a realistic and sturdy frame to mimic an actual house.
Role: Carpenter
To capture the essence of this 1960's Skid Row, a notoriously rundown neighborhood, we assembled a turn table with a motor to switch between the streets of skid row and the interior of Mushnik's shop. The inside of the shop featured live flowers and puppetry while the wings of the stage have vinyl tarps to add to the cityscape.
Role: Carpenter
Set in Paris before WWI, we created a luxurious estate with archways for actor entrances and stairs to create levels. Since there were no scenic changes we were able to add more detail and created a false proscenium to draw the audience's attention inwards. We use a CNC machine to create templates on acrylic sheets to mimic stained glass.