For this production I was tasked with creating a drop that matched the drop parts that we had in stock. To begin I surged the muslin and starched the entire strip.

For this production I was tasked with creating a drop that matched the drop parts that we had in stock. To begin I surged the muslin and starched the entire strip.

The starch was tinted with a bit of dark blue paint to make sure we knew where the product had already been applied.

The starch was tinted with a bit of dark blue paint to make sure we knew where the product had already been applied.

This was the first reference image I was able to find for how to create the forest drop. This was from Beth Albrecht's website https://www.albrechtscenicartist.com

This was the first reference image I was able to find for how to create the forest drop. This was from Beth Albrecht's website https://www.albrechtscenicartist.com

Using that as a reference I used colors straight from the can and blended them roughly as a base.

Using that as a reference I used colors straight from the can and blended them roughly as a base.

I then took another pass over the drop with a short chip brush to add texture to the base of the leaves.

I then took another pass over the drop with a short chip brush to add texture to the base of the leaves.

I also noticed a lot of long fern shapes in the original drops and could not find anything in the scene shop that would work so I carved my own from scrap foam. Here I am securing the stamps with foam glue.

I also noticed a lot of long fern shapes in the original drops and could not find anything in the scene shop that would work so I carved my own from scrap foam. Here I am securing the stamps with foam glue.

Yet another reference from the website of Beth Albrecht that gave me a clue on how to continue with the next steps.

Yet another reference from the website of Beth Albrecht that gave me a clue on how to continue with the next steps.

In order to add the most visual texture stamps were used here in the reference image I found on Beth Albrecht's website.

In order to add the most visual texture stamps were used here in the reference image I found on Beth Albrecht's website.

I was then able to replicate the stamps and finished the drop. Pictured here along the top of the set is the border I created.

I was then able to replicate the stamps and finished the drop. Pictured here along the top of the set is the border I created.

Here you can see the borders next to each other, mine on the top and the one below belonging to Beth Albrecht. This is also a good image of the slide I painted.

Here you can see the borders next to each other, mine on the top and the one below belonging to Beth Albrecht. This is also a good image of the slide I painted.

I was also told to make a ground row and use the same techniques I used on the drop. I instructed a fellow student on how to create these and walked her through the process.

I was also told to make a ground row and use the same techniques I used on the drop. I instructed a fellow student on how to create these and walked her through the process.

This is what the ground row pieces looked like next to the drop. The drop is the section above and the ground row is below.

This is what the ground row pieces looked like next to the drop. The drop is the section above and the ground row is below.

Pieces of foam were glued together and carved to create these giant sections of rock. I then used elastomeric roof coating and cheesecloth to make the structure stronger.

Pieces of foam were glued together and carved to create these giant sections of rock. I then used elastomeric roof coating and cheesecloth to make the structure stronger.

There were five of these rocks in total and they were very big to paint! Only three were used on the stage and the final two were set dressings for the edge of the stage.

There were five of these rocks in total and they were very big to paint! Only three were used on the stage and the final two were set dressings for the edge of the stage.

I made a grey base with a bit of blue and sponged on orange, green and coral to give the rocks texture. I then spattered an off-white on top while everything was still wet to create a water-soaked look.

I made a grey base with a bit of blue and sponged on orange, green and coral to give the rocks texture. I then spattered an off-white on top while everything was still wet to create a water-soaked look.

Another process photo of the rocks while they were being painted. I painted the sides first and let them dry and then painted the middle so that I could lean over the rock itself.

Another process photo of the rocks while they were being painted. I painted the sides first and let them dry and then painted the middle so that I could lean over the rock itself.

Here is a photo of the finished rocks! Two more small rocks that were made for a different show were given to me and got the same treatment. These were actually donated to another show locally!

Here is a photo of the finished rocks! Two more small rocks that were made for a different show were given to me and got the same treatment. These were actually donated to another show locally!

For the majority of the set the effect of weathered wood was needed. I used a dark brown base and dry brushed a light grey to add visual texture.

For the majority of the set the effect of weathered wood was needed. I used a dark brown base and dry brushed a light grey to add visual texture.

Here I am painting parts of the underside of the set with that weathered wood. Because the set was so exposed there were a lot of pieces of raw wood that could be seen and needed to be covered.

Here I am painting parts of the underside of the set with that weathered wood. Because the set was so exposed there were a lot of pieces of raw wood that could be seen and needed to be covered.

The set in its entirety! This was a huge set with lots of little details that made the whole thing connect.

The set in its entirety! This was a huge set with lots of little details that made the whole thing connect.

Here is another production photo in which you can see that distressed and weathered wood under stage light!

Here is another production photo in which you can see that distressed and weathered wood under stage light!

The reference image I was given for our rusty slide. It began a playground yellow and was spray painted silver to make it look older and more like tin.

The reference image I was given for our rusty slide. It began a playground yellow and was spray painted silver to make it look older and more like tin.

Here is the final product! I added rust by sponging on a brown and a yellow together in concentrated areas where rust would naturally occur. The seams of the slide were first priority and then each large panel was given a splotch or two.

Here is the final product! I added rust by sponging on a brown and a yellow together in concentrated areas where rust would naturally occur. The seams of the slide were first priority and then each large panel was given a splotch or two.

The inside of the slide could also be seen so there was lots of rust there as well. Everything within the slide had to be coated with a protective clear coat to keep costumes clean as actors came down it. It was also waxed so no one would get stuck.

The inside of the slide could also be seen so there was lots of rust there as well. Everything within the slide had to be coated with a protective clear coat to keep costumes clean as actors came down it. It was also waxed so no one would get stuck.

There was a star shape in the slide naturally and lighting designer Jessica Baker said it looked like a starfish! I asked the scenic designer if I could paint it to look like one and he said "Absolutely!" and so this little easter egg of the set was

There was a star shape in the slide naturally and lighting designer Jessica Baker said it looked like a starfish! I asked the scenic designer if I could paint it to look like one and he said "Absolutely!" and so this little easter egg of the set was born!

Peter and the Starcatcher 

University of Wisconsin-Parkside

Director 
Rachael Swartz

Assistant Director 
Petr William

Music Director 
Carmen Risi

Stage Manager
Taylor Ireland

Scenic Designer
Jody Sekas

Asst. Scenic Designer
Quincy Wilson

Costume Designer
Katlin Gerlach

Asst. Costume Designer 
Kennedy Frick

Lighting Designer
Jessica Baker

Asst. Lighting Designer
Savana Andershock

Sound Designer
Kevin Gray

Hair & Makeup Designer
Kali Avery

Props Designer
J Lofty

Scenic Charge Artists 
Maggie Jay
Beth Albrecht

Dialect Coach
Rachael Swartz

Fight Director
Travis Siepl

Intimacy Director 
Rachael Swartz

Dance Captain 
Dakota Nionakis

Technical Director 
Jody Sekas