The Process

Models were planned, built to 1/4” scale, lit, photographed, and animated over (in flipaclip) to create the above video.

I designed the Isaura stage to be on two levels, one for the city, moved by the one for the lake below. A challenge I ran into was how to depict the waves in the lake, which I addressed with shiny vinyl ripples, extending to the audience, and water wheels to add movement/dimension. The stages have a mesh for backlighting, covering a backstage passage. There are two entrances/exits from the upper stage through the buildings. There are also entrances/exits from the lower stage on either front wing, cloaked by stalactite formations, and one in the back. Some elements used to expand the theater space were the water wheels of various scales that extend through the floors to deepen the water. The stalactites and hanging buckets were added to allow more places for hidden lighting fixtures and add more intrigue to upper areas. The stages are both at slight angles to enhance the audience view of the action. The upper level has 4 moving platforms, which can be adjusted from scene to scene to reflect the water moving the city. The intention is that the water wheels will turn during these transitions to reflect the wave motion. The popup fish was added to allude to the city’s lake gods. The lake stage is black with metallic and shiny highlights, covered in a mesh curtain to darken figures when not being focused upon, but allow visibility when backlit, giving the lake a constant presence. The buildings in upper Isaura were inspired by western mining towns and include a metal pump house in the back stage left. 

I chose to design the costumes for Francine Anker, Jesse and Rosa Aridon, and Jacob Malthes to establish the people inhabiting Isaura. Francine’s costume is based on dresses worn in the late 1800s to early 1900s by older women. Some features of these types of garments include stiff, large collars, dark colors, and small button closures in the torso. Her rich purple dress reflects her wealthier status, but the lack of embellishments reflects her more serious nature. Jesse Aridon, the outlaw, is dressed in clothing inspired by a particular image I found of cattle herders from the western US at the turn of the century. His many, worn layers reflect the time he spends on the run. The heavy overcoat and hat provide coverage from wind and sun. Rosa’s dress is inspired by women’s clothing of the period, featuring a collar and edwardian-v-wasted skirt. While the silhouette of the pieces reflects the more fashionable styles, the colors and material are more simple, as she is on the run with Jesse and must travel light. Despite this, her appearance is more kept. Her and Jesse both wear the same color red (dress and scarf) to reflect their relationship. They both also wear a lighter colored garment to make them more visible in the darker, underground scenes. Jacob Malthes’s costume is based on more eastern US fashions of the turn of the century (vest and striped pants). As a local, his clothing is somewhat outdated, as newer clothing would need to be imported, something he doesn’t have time for with his time-consuming work. He carries a satchel with documents, wears a utility belt for tools, and has heavy leather gloves to protect his hands while working. He is also constantly dirty with oil and coal dust from working on the water wheels about town.