The scenic designer wanted sputnik inspired chandeliers but a much larger scale. Each chandelier was designed to be around 6'-0" wide and 2'-6" tall. He built a model that was used in the shop to make sure all the angles were correct. Because of the scale of the chandeliers, custom joints were built that also allowed us to have some adjustment in the arm locations. Each of the globes had a RGBW LED inside allowing the lighting designer to have each globe an individual color. Due to the construction and LED control, the chandeliers had to be wired by the light shop as they were being assembled. In addition to the construction, I was also in charge of the automated rigging for them.

The scenic designer supplied research for a staff. I decided to build the staff from scratch. The staff started out by gluing multiple pieces of poplar to a hardwood dowel rod. By using a chainsaw attachment for a grinder, various sanding disks, and files, I was able to shape the block of wood down. After finish sanding, the designer liked the natural colors of the wood, so the staff was then sealed instead of being painted to match the research.

The director and scenic designer wanted a gun that shoots out a banner that says "bang". They wanted a banner that was larger than the common version you can get from a party/gimmick store. The team also wanted something more realistic looking. The project started with an extra gun from stock. The barrel was cut off and replace with a tube that was longer with thinner walls to accommodate the spring and rolled-up banner. A slot was cut in this tube to keep the mechanism in line and not shooting across the room. The inside end of the banner rod has an impact hex head that is held in place with an impact adapter (similar to what is at the end of the impact tool). The old cylinder was cut apart to hid the impact adapter ad the back of the gun. The gun's trigger would activate the gun's hammer which then released the hex head from the holder. The banner would be pushed out by the spring and then would unroll. Overall the gun was successful. A few times the gun would jam up. Some of the reason was the spring strength and using readily available parts. Having access to a metal lathe at the time of construction would have helped make more custom parts.

The scenic designer supplied research for a old style microphone he was interested in for the production of <em>Cabaret</em>. Not having one in stock, I decided to build one from mostly scrap materials from the shop. I only needed to purchase the springs and the threaded attachment for the stand. After drafting the microphone to get the sizes, the entire piece came together quickly. A second microphone was needed for <em>Waa-Mu 2014: Double Feature</em> in May 2014. I was able to pull up the drafting and make a second one and added a couple station names to the tops.

The scenic designer requested a corner chair for <em>Pride and Prejudice</em>. After searching around for a chair that would fit the show, I decided to build the show from scratch. After drafting the chair from the research image, I turned the legs out of poplar on the lather. Parts of the back were drafted and then cut out on the CNC router.

The design team wanted a miniature working model of a Ferris wheel to be used onstage. In addition to it working, they also didn't want any cords coming off of the piece as it was rolled onstage. Working with the light shop, I was able to come up with a plan for the pieces and assembly process. The Ferris wheel rings we're build with channels and slots in the the back to hold the incandescent rice lights. We attempted to build our own slip ring for the lights but ended up purchasing a slip ring after a few failed attempts at using materials found in the shop. The wheel itself rotated with the use of a stepper motor and a friction wheel at the bottom. The light shop hooked everything up via batteries and wireless DMX, including speed control of the rotation.

The design team approached the staff with an idea of a clock that could roll around on stage, hands that change speed for the song "Racing With The Clock", and could light up and change colors. Alec Thorn, Assistant Master Electrician, and I teamed up to see if this was possible within out means of budget and time. More info coming soon. (There are a lot of parts to this project. So for now check out the photos and videos.)

Scenic Designer, Kristina Herne, wanted crates that had sewing machines but could disappear for when they weren't being used and the crates could be used as set dressing.  I came up with a version where an insert could be lifted out, flipped around, and then placed back into its hole.  After many rehearsals it was discovered that the actresses that did the changes could not flip the sewing machines quickly and gracefully.  A new idea to have a rotating pivot point and lock was developed.  I quick retrofitted the old units with the new idea and quickly got the tables back into rehearsal.  In addition to the tables having sewing machines, they also had to store stools, rolled around on stage, and sat on.