Fandango for Butterflies (and Coyotes)
LaMama Theatre, New York, NY February to March 2020
Written by: Andrea Thome Director: José Zayas
Music by: Sinuhé Padilla Scenic and Projections Designer: Johnny Moreno
Props Designer: Ammy Roth Lighting Designer: Lucrecia Briceno
Costume Designer: Fabian Fidel Aguilar Choreographer: Alexandra Beller
PSM: Carolina Arboleda Production Manager: Sarah George
Carlos 2.0, with the production logo painted after closing.
Papel picado, banners hung as decoration for a party. Designed, cut, and hung based on research of traditional papel picado.
Carlos 2.0, designed based on research of the Oaxaca protests.
Pili's tabular jigular is an object she builds to "tabulate the jigular" and was created from various found electronics.
Doubt: A Parable
Oklahoma State University, Stillwater, OK November 2018
Written by: John Patrick Shanley Directed by: Tom Alsip
Scenic Designer: Ammy Roth Costume Design: Renee Garcia
Lighting Design: Hannah Thomas Sound Design: Lee Brasuell and Sound Design Class
Technical Director: Lee Brasuell Stage Manager: Reagan Burns
Production photo of the scenic design for Doubt: A Parable.
Original design for stained glass window, with reference photo.
Build design for the altar.
Front view of the scenic design.
Top view of the scenic design.
Upper-arch build design
Lower-arch build design
Archway build design
Barefoot in the Park
Oklahoma State University, Stillwater, OK March 2017
Director: Harley Roche
Stage Manager: Kayla Day
Scenic Designer: Ammy Roth
Scenic Charge Artist: Ammy Roth
Properties Master: Stephen Higginbotham
Technical Director: Keely Oppelt
Lighting Designer: Hannah Thomas
Costume Designer: Breanna Ault
Sound Designer: Keely Oppelt
Final touches for the kitchen tile.
Process for creating the kitchen tile.
Initial base for the kitchen tile.
Stencil and first painting of the kitchen tile.
Original design for the Barefoot in the Park kitchen tile. The tile was designed to represent the eccentricity of
AutoCAD drafting for scenic design.
Kitchen view of the 3D model
Window view of the 3D model
Top view of the 3D model
Process photo for the window wall
Bedroom stairs prior to baby blue carpeting.
Front steps after paint touches
Bathroom door before painting
First layer of floor paint
Bathroom door after painting
The King’s Legacy
Bristol Valley Theater, Naples, NY August 2019
Written by: Michael Radi Director: Chris J. Handley
Asst. Director: Kate Rose Reynolds Musical Director: Annabelle Revak
Scenic Designer: Justin & Christopher Swader
Props Designer: Ammy Roth Lighting Designer: Mary Ellen StebbinsSound Designer: Rich Miller Costume Designer: Sammi Miller Dramaturg: Liz Porter Woods
Greed: the Three Evils, designed from research of Medieval tapestries representing greed.
Lust: the Three Evils, designed from research of Medieval tapestries representing lust.
Hatred: the Three Evils, designed from research of Medieval tapestries representing hatred.
Card backs of Henry VIII's deck of cards, designed from research of Medieval card games.
Example of card faces for Henry VIII's deck of cards, designed from research of Medieval card games.
Shadow puppetry representing a jousting tournament between Henry VIII and his comrade.
Tudor orb and scepter held by newly-crowned Queen Elizabeth
Tudor orb and scepter held by Anne Boleyn during her coronation.
During a festival, three gentlemen (including Henry VIII) court the three virtues (including Anne Boleyn) to represent the struggle against the three Evils.
Director: Suzi Takahashi Scenic Designer: Curtis Phillips
Lighting Designer: Dan Winters Sound Designer: Ron Ziomek
Costume Designer: Liz Porter Woods Props Designer: Ammy Roth
The Roommate
Breakable doll, based on South American traditional dolls. Three dolls were smashed during the show each night. These were made with plaster of Paris mixed with Elmer's glue.
Production photo, including a brick of cocaine, several bags of marijuana, a bowl of marijuana, joints, and cash.
Non-breakable doll painted to resemble the smashed dolls but intended for the actors to keep in one piece.
Robyn showing her South American figurine to Sharon.
Sherlock Holmes and the Case of the Jersey Lily
Bristol Valley Theater, Naples, NY August 2019
Director: Karin Bowersock Scenic Designer: Bryce Cutler
Lighting Designer: Paul Hudson Sound Designer: Ron Ziomek
Costume Designer: Nina Bova Props Designer: Ammy Roth
Moriarty jumps out of the tea cart, which was custom-built to carry Moriarty hidden inside.
Letters from Prince Albert to Lillie, which the Prince's crest.
Lillie's necklace has "one gem from every necklace of the queen" so it was dyed to have multiple rubies, diamonds, emeralds, and sapphires.
Kitty throws a dagger at Sherlock, but it gets stuck in the bookcase. Using the dagger, I built a rig to have the dagger pop out from the the bookcase as Kitty pretends to throw the dagger.
Kitty throws a dagger at Sherlock, but it gets stuck in the bookcase. Using the dagger, I built a rig to have the dagger pop out from the the bookcase as Kitty pretends to throw the dagger.
Kitty throws a dagger at Sherlock, but it gets stuck in the bookcase. Using the dagger, I built a rig to have the dagger pop out from the the bookcase as Kitty pretends to throw the dagger.
Murder for Two
Bristol Valley Theater, Naples, NY August 2019
Director: Benjamin Viertel Scenic Designer: Tim McMath
Lighting Designer: Christina Watanabe Sound Designer: Ron Ziomek
Costume Designer: Christopher Metzger Props Designer: Ammy Roth
Named Babsabelle and designed after typical horror movie dolls, this baby was made from two separate baby dolls (one missing limbs, the other missing a head) and given an old doll's dress and a face lift.
Shadow puppets were used to describe a scene in which Vanessa (above) reveals a briefcase with severed body parts.
Before revealing her briefcase of body parts, Vanessa is confronted by her boss, the police chief, about a story pertaining to a man with "three legs."
The Suspects and the Detective looking at a freezer with a severed foot, with the weaponry wall behind them.
An ax built with 3/4 ply because the Suspects broke a plastic toy ax several times.
Window glasses were used by the actors to represent them looking out the window, but they were originally blocked to break the glasses apart near the end of the show (this blocking was later dropped) so these glasses are designed with a Velcro connection across the middle for the actors to pull apart and put back together for every show.
The first cut out for the built ax before sanding and painting.
Becoming Dr. Ruth
Bristol Valley Theater, Naples, NY June 2019
Director: David Shane Lighting Designer: Jennifer Fok
Sound Designer: Rich Miller Props Designer: Ammy Roth
Dr. Ruth holds up her handkerchief, embroidered with her initials 'K.S.' which she has protected since she was taken from her home as a young girl.
Repaired doll house roof, after "shingle" replacement and repainting.
Top view of both doll houses after repairs, including replacements, repairs, and repainting.
Front view of both doll houses after repairs, including replacements, repairs, and repainting.
Original doll house before repairs. "Shingles" are missing or broken and some paint is scratched or scarred.
Stool after repairs and repainting.
Original stool, after cushion was removed. The stool was heavily damaged and the cushion torn, but it was repaired and repainted for the production.
So Happy Together
Bristol Valley Theater, Naples, NY June 2019
Director: Katelyn Cantu Scenic Designer: Matt Carlin
Costume Designer: Sean Sullivan Lighting Designer: Greg Solomon
Sound Designer: Ron Ziomek Props Designer: Ammy Roth
She Loves Me
Oklahoma State University, Stillwater, OK April 2018
Playwright: Joe Masteroff Director: Peter Westerhoff
Production Stage Manager: Lucas Hart Stage Manager: Ari Kuhns
Scenic Designer: Maggie Gayle Assistant Scenic Designer: Ammy Roth
Properties Master: Maggie Gayle Costume Designer: Renee Garcia
Lighting Designer: Fabian Garcia Sound Designer: Lee Brasuell
Production photo featuring full parfumerie design
Initial paint elevation for the parfumerie facade
Painting process for the parfumerie facade.
Painting process for the parfumerie facade.
Black and gold brick detail for hard legs.
Painting process for the parfumerie facade.
Facade detail for Maraczek's parfumerie
Painting process for the parfumerie facade.
Painting process for the parfumerie facade.
Musical cigar box with sponged texture.
Painting process for the parfumerie facade.
Lower false proscenium paint
False proscenium (female figure credit to Maggie Gayle)
Painting process for parfumerie interior
Gold painted table for water container.
Parfumerie perfume rolling cases with LED light strips inserted.
Lipstick display case for parfumerie.
Final painted musical cigar box with velvet inner lining. Some were openable, others were glued shut.
Gold painted spiral staircase
Painting process for work room label
Painting process for parfumerie interior
Final paint design for parfumerie interior
Final paint design for parfumerie interior
Final paint design for parfumerie interior
Comedy of Errors
Oklahoma State University, Stillwater, OK November 2017
Playwright: William Shakespeare Director: Lloyd Caldwell
Stage Manager: Reagan Burns Scenic Designer: Maggie Gayle
Scenic Charge Artist: Ammy Roth Properties Master: Maggie Gayle
Costume Designer: Renee Garcia Lighting Designer: Leslie Currell
Sound Designer: Lee Brasuell Technical Director: Leslie Currell
My main project for the production was designing and painting the city on a hill in the background. The windows were backlit during the production.
My main project for the production was designing and painting the city on a hill in the background. The windows were backlit during the production.
Close up of the greek statue fountain, made from a large scale Barbie.
Close up of the greek statue fountain, made from a large scale Barbie. The statue included a water pump and basin.