This show was performed at Jubilee Theatre in Fort Worth, TX and was directed by Phyllis Cicero.  I designed both the scenery and the lighting for the production.

My Concept for the show was to show how the fabrics of our lives, though not always beautiful can come together to create a beautiful life.

Critics said:

The simple, structured set design (by Michael Skinner, who also does lights), makes terrific use of silhouettes, like shadow puppetry with humans as the puppets. The actresses, behind a sheer curtain, act out certain scenes, such as when a cabaret dancer does an amazing trick with smoke rings, and a hilarious reenactment of a birthing that changed Holland's views on having babies. A quilt on the back wall features panels that correlate to each of the scenes. It's beautiful, truly.

Mark Lowry, Theatre Jones




The set design, by Michael Skinner, is simple but inspired.

Punch Shaw,
Fort Worth Star-Telegram
 

The opening scene

Aint Baby

The Birth Scene

The Water Meter

 The Ghost image of Aint Baby

For the backdrop of the stage, I designed a "Life Quilt", the squares of which represented different turning points in the Life of Dr. Holland and the different scenes of the show.  This Life quilt was 9 feet tall and 12 feet wide and sewn together by my very talented assistant Angelina Vyushkova.

Hanging panels of fabric also were used to represent the fabrics of life that go into making up the Life Quilt of the main character.

The platforms progressed in height and the paint treatment of them was in various wood grains. By using them they represented her rise from poverty and the quality of the wood grain increased with the height of the platforms.

In two of the scenes we used sillouette to show first the birth of a baby as Endesha described watching Aint Baby deliver it as a midwife and second as she told of working as a dancer in a side show.

The dance