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I began working as an Assistant Scenic Artist at the Crescent Theatre in Birmingham in May 2024. Since joining, I contributed to several productions, including Gypsy, Beauty and the Beast, and Murder on the Nile. For Gypsy, I worked on multiple elements of the set, including a New York skyline backdrop, detailed lettering, and painted features such as a horse, car, and billboard signage. I used a range of scenic techniques, including dry brushing, sponging, and shading, to bring depth and realism to the set. This role allowed me to refine my skills in large-scale scenic painting while collaborating with a dedicated team of volunteers in a busy theatre environment. Below are some behind-the-scenes photos and videos documenting my work on these productions.
Red Velvet
Directed by Alan K Marshall
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Red Velvet – Costume Dresser/Maker (13th–20th July 2024)
Stepping away from scenic art, I had the opportunity to explore costume work as a Dresser and Maker for the production of Red Velvet. This powerful play offered a meaningful insight into the life and legacy of Ira Aldridge—an extraordinary figure whose impact on modern theatre is both profound and enduring. Being part of this production was incredibly rewarding, allowing me to contribute to the storytelling through costume while deepening my understanding of theatre history and its relevance today.
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Here are some of my original costume and hair designs. On the left is a hand-drawn design of an 18th-century purple dressing gown, inspired by the silhouettes and fabric details typical of the period. Above is a corresponding 18th-century hairstyle, created to reflect the elegance and structure commonly worn by women of that era. Both designs showcase my interest in historical accuracy and attention to detail in period costume work.
Beauty and the Beast – Crescent Theatre, Birmingham (10th–22nd December 2024)
As Assistant Scenic Artist for Beauty and the Beast, I worked collaboratively with a team of volunteers to help bring the magical world of the story to life on stage. I contributed to painting the backdrop, including architectural features such as balconies and trellis work, and used shading techniques to add depth and realism. I also used chalk to map out brickwork, then painted with varied tones to create texture and highlights. Additionally, I created stonework effects on a functional well, carefully working around embedded technical equipment. I was involved in both the final set build and its dismantling post-production, gaining valuable hands-on experience across all stages of the scenic process.
