Crafting Aluminum Blades for Stage

Weapons experts J. Allen Suddeth and J. David Brimmer give insight into the trend of using aluminum blades for the stage.  Having first used these blades back in the 1990’s, these weapons masters have developed their techniques to create blades that can be seen on stage from the audience, as well as last for the run of a show. Learn how and why their use of aluminum could be beneficial and perhaps something you may apply to your next production. View Article via

Backstage Video: Paul Tazewell, Costume Designer

Costume Designer Paul Tazewell, Tony nominee for his costume design for Ain’t Too Proud, discusses his journey that led him to costume design. READ ARTICLE via

AACTFest 2019 Design Competition – Submit Entry by June 3rd!

AACT 2019 Design Competition: Designers and their theatres in the spotlight Design Competition to Celebrate Designers & Their Work Show off the designs that enhance your productions and take them to new levels. The AACT 2019 National Design Competition will showcase the best of community theatre in this country. It’s an opportunity for your theatre and designers to shine! AACT member theatres and their designers may enter; designs must be of projects occurring between July 1, 2017 and June 15, 2019.  Design Categories Scenic Lighting Sound Properties Costume Makeup/Hair Special Design General Guidelines: There will be an entry fee of $20 for each design. Entry must be from a realized production. Entry of the Design may be made by the Member Compa...

Register for AES New York – 2019 Pro Audio Convention

Experience AES NEW YORK 2019 147th PRO AUDIO CONVENTION EXHIBITS: OCTOBER 16-18PROGRAM: OCTOBER 16-19 REGISTER TODAY! Do your interests or work include Studio Recording, Home Recording, Music Production, Electronic Dance Music, DJ, Live Sound, Theater Sound, Broadcast and Streaming, Networked Audio, Audio for Virtual and Augmented Reality, Game Audio, Sound for Picture or Product Development?  AES New York 2019, the 147th Pro Audio International Convention has you covered in one exclusively end-user focused event.  All Access registration provides the only way to experience the entire Convention, including a comprehensive papers, workshops, tutorials program and all of the Exhibits-Plus benefits.  Exhibits-Plus access gains you entry ...


Let’s set the scene: It’s 1969. You’re in a diner. You need a place to sit. Low and behold: there is a bar and some stools. You have found your seat! But, you may be asking yourself, “How did these stools get made?!” Props master Eric Hart walk you though his design process for creating stools for Two Trains Running by August Wilson at Triad Stage. READ ARTICLE via www.

A Conversation with Costume Designer Dede Ayite

With a background studying theatre and behavioral neuroscience and a graduate degree in scenic design from Yale, how did Dede Aiyte carve her path to become a Broadwy costume design? Connect the dots with her here: READ ARTICLE via

Lighting Designer Valerio Tiberi on Lighting West Side Story in Italy

via Lighting Designer Valerio Tiberi discusses his vision of lighting West Side Story in Italy at the  Teatro del Maggio Musicale Fiorentino. READ ARTICLE via

How the Phantom of the Opera’s Mask is Made

Saturday, January 26, 2019 was the 31st Anniversary of the Broaddway opening of The Phantom of the Opera. Here’s a backstage video about how the iconic mask is custom-made for each Phantom. – via READ ARTICLE

The Fake Food Cookbook

The Fake Food Cookbook: Props You Can’t Eat for Theatre, Film, and TV created by Karestin Harrison and Tamara L. Honesty from Focal Press is a handy new resource for prop makers in all areas of the entertainment industry. Learn more and give it a try: READ ARTICLE via

Working in the Theatre: Makeup

via This episode of Working in the Theatre: Makeup features make-up artists Brian Strumwasser and Thelma Pollard speaking about their craft and the paths they took to get to Broadway. A character on stage is shaped by many factors. An important, and often under-examined aspect to the creation of a character and achievement of a production is created by the magnificent makeup artists on and off-Broadway. But, what does it take to achieve the prefect show-ready look 8 times a week? Makeup Artists Brian Strumwasser and Thelma Pollard share their journey on the creation and maintenance of a character in this episode. Through Brian’s work on A Gentleman’s Guide to Love and Murder, we delve into the detail and dedication needed for one actor to change their look 17...

A Commedia Mask Makers Materials

BY JONATHAN BECKER via Sculpting in Clay I was recently interviewed about mask making materials associated with Commedia dell’Arte Masks.  I thought I’d share this mask makers response here. Question posed: I know you’ve worked (fabulously) with neoprene and other synthetic materials.  What would you say to the traditionalists who believe that a mask needs to “breathe” or be made of “organic” materials in order to have life on stage?  How about those hard-core people who say Commedia masks were and always should be leather? My Response: What makes a mask play is connected to the level of sophistication as concerns the rhythmic expressive form of the sculpture itself. The material the mask is made out of does not affect the ability of the mask to play. It is the skill ...

The Marvelous 1950s Costumes of Marvelous Mrs Maisel

via Amy Sherman-Palladino’s Marvelous Mrs Maisel  is about a Jewish mother who explores her passions by becoming a comedian. The show uses 1950s fashion throughout the plot using colours and patterns to express both the glamour and austerity found in the post-war period. The 1950s costumes create an authentic portrayal of this time period, and illustrates Midge’s emotional journey as well. Costume designer Donna Zakowska told Mashable how important Midge’s wardrobe “was [as] an attempt to optimistically capture the spirit of a woman, who in spite of unfortunate events continues to assert her spirit to remain on her feet. Her love of clothes, detail and color would become tools for expressing her strength and identity. [We’re] re-examining the strength and complexity o...

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