This is the elevation we were given for the entire set and one we referenced a lot throughout the process. The set was given to us in pieces to paint before it was assembled so it was critical to get the colors right.

This is the elevation we were given for the entire set and one we referenced a lot throughout the process. The set was given to us in pieces to paint before it was assembled so it was critical to get the colors right.

The main platform was built in the paint shop for us and we primed and painted the entire thing. This took about 3 days because of the drying time of the technique which used a lot of water.

The main platform was built in the paint shop for us and we primed and painted the entire thing. This took about 3 days because of the drying time of the technique which used a lot of water.

The platform was huge, and once it was finished the Masonite was pulled up by the scenic crew and labeled to be built in-space later.

The platform was huge, and once it was finished the Masonite was pulled up by the scenic crew and labeled to be built in-space later.

There were a two of these large spinning structures that were made to be the "trees" of the set. Each piece was cut and sent to us individually to be painted and then constructed by scenic and touched up by us later.

There were a two of these large spinning structures that were made to be the "trees" of the set. Each piece was cut and sent to us individually to be painted and then constructed by scenic and touched up by us later.

Two of these counters were re-used from another show. As a sort of personal project Charge Artist Kemaleigh Laramie and I tore the old trim pieces off of them and painted the new trim. We referenced this image a lot as there were many small pieces of

Two of these counters were re-used from another show. As a sort of personal project Charge Artist Kemaleigh Laramie and I tore the old trim pieces off of them and painted the new trim. We referenced this image a lot as there were many small pieces of varying colors.

We were even able to build these booths and used carpenter's diagrams to know where each piece would go.

We were even able to build these booths and used carpenter's diagrams to know where each piece would go.

Here I am finishing up the final touches on these large booths. Helping to make these from start to finish was very rewarding for me and I had a lot of fun doing it!

Here I am finishing up the final touches on these large booths. Helping to make these from start to finish was very rewarding for me and I had a lot of fun doing it!

This was the floor elevation we were given by the scenic designer.

This was the floor elevation we were given by the scenic designer.

Here is what it looked like when we were finished! We used a scumbled base layered with watered down sponging for the green color. The lines were made using a fix point and chalk (video below) and the edges were fuzzed out with garden sprayers.

Here is what it looked like when we were finished! We used a scumbled base layered with watered down sponging for the green color. The lines were made using a fix point and chalk (video below) and the edges were fuzzed out with garden sprayers.

The large back panel was constructed before being put up. We knew that there was an inner circle of a different color and we measured and painted that, though we were slightly off of the trim piece, so we did touch-ups the next day.

The large back panel was constructed before being put up. We knew that there was an inner circle of a different color and we measured and painted that, though we were slightly off of the trim piece, so we did touch-ups the next day.

To make the set more 3D each piece of trim was layered on top of each other, seen here.

To make the set more 3D each piece of trim was layered on top of each other, seen here.

Here the set is being constructed on the load-in day. The platform and main wall were installed first.

Here the set is being constructed on the load-in day. The platform and main wall were installed first.

The large pillars were installed next with the layered trim that was painted in sections by the paint team.

The large pillars were installed next with the layered trim that was painted in sections by the paint team.

The set had many sections that had LED's inside of them and would light up with each lighting cue. We also had to paint the insides of much of the set white to reflect the light.

The set had many sections that had LED's inside of them and would light up with each lighting cue. We also had to paint the insides of much of the set white to reflect the light.

In the final production the props team made puppets from flowers and vines, something I had nothing to do with but found so beautiful so I had to include it here!

In the final production the props team made puppets from flowers and vines, something I had nothing to do with but found so beautiful so I had to include it here!

My favorite part of this show was how bright and fun the lights made the painting look. Each part of the set glowed and had such a fin energy to it.

My favorite part of this show was how bright and fun the lights made the painting look. Each part of the set glowed and had such a fin energy to it.

The "trees" that we painted were part of the same color scheme as the rest of the set which really connected the entire set.

The "trees" that we painted were part of the same color scheme as the rest of the set which really connected the entire set.

Here you can see very well that the same treatment was used for the platform and floor to connect the two.

Here you can see very well that the same treatment was used for the platform and floor to connect the two.

To create the circular floor treatment scenic designer Stephanie Baugher and lead painter Kemaleigh Laramie tied a piece of chalk to the end of a string screwed to the center of the circle. We determined the distance between each line and had a lot of fun drawing them

As You Like It 

Interlochen Center for the Arts

Directed by - Shelby Lewis 

Associate Director - Iris Sowlat 

Scenic Design by - Stephanie Baugher 

Costume Design by - Cory John 

Sound Design by - Emily Duncan Wilson 


Lighting Design by - Matthew P. Benjamin 

Fight Choreography by - Orlando Grant 

Stage Manager - J. Alexander Farrell 

Charge Artist - Kemaleigh Laramie