Some of the many paint sample cards that were created for this production.

Some of the many paint sample cards that were created for this production.

The contrast between the floor and the arches and how the set came together under lighting was remarkable.

The contrast between the floor and the arches and how the set came together under lighting was remarkable.

Several small sawhorses were created and painted for the big banquet scene! Each additional part of the set had to be grunge in a specific way in order to fit in with the rest of the set.

Several small sawhorses were created and painted for the big banquet scene! Each additional part of the set had to be grunge in a specific way in order to fit in with the rest of the set.

An old barrel was dented by our assistant scenic designer, Mark Warden, and I was told to "rust and grunge it up".

An old barrel was dented by our assistant scenic designer, Mark Warden, and I was told to "rust and grunge it up".

Focusing on the parts of the barrel that would accumulate the most moisture I used a variety of reds, browns and yellows to sponge a realistic texture

Focusing on the parts of the barrel that would accumulate the most moisture I used a variety of reds, browns and yellows to sponge a realistic texture

This was the reference image provided to me by the designer for the treatment he wanted on the two doors the characters used as tables

This was the reference image provided to me by the designer for the treatment he wanted on the two doors the characters used as tables

Underpainting was done to the doors to give them a more worn-down look

Underpainting was done to the doors to give them a more worn-down look

Upon some research I discovered that regular Elmer's glue could create this cracked paint pattern on the cheap! This was the test I gave to the designer

Upon some research I discovered that regular Elmer's glue could create this cracked paint pattern on the cheap! This was the test I gave to the designer

We added a bit of yellow and white paint on top of the glue and let it sit overnight to dry completely. I knew this would take a long time to fully dry, so I made sure to communicate with the stage manager to find the best time to paint them.

We added a bit of yellow and white paint on top of the glue and let it sit overnight to dry completely. I knew this would take a long time to fully dry, so I made sure to communicate with the stage manager to find the best time to paint them.

Once they were dry they were so gross-looking and fit perfectly into the vibe of the show.

Once they were dry they were so gross-looking and fit perfectly into the vibe of the show.

The throne was a fun side project for the show. It was painted with a base color close to gold and then with a gold metallic on top. It was also rusted down with a darker sponge color so it wouldn't look so new

The throne was a fun side project for the show. It was painted with a base color close to gold and then with a gold metallic on top. It was also rusted down with a darker sponge color so it wouldn't look so new

This was the reference image given to me by the designer for the stone section of the towers. They were a warm brown texture to combat the cool dark tones of the opposite side, the trees

This was the reference image given to me by the designer for the stone section of the towers. They were a warm brown texture to combat the cool dark tones of the opposite side, the trees

Painting the scrim was a big challenge but we used pneumatic sprayers and sponges to give the flat black fabric an earthier color and texture

Painting the scrim was a big challenge but we used pneumatic sprayers and sponges to give the flat black fabric an earthier color and texture

The towers were painted as separate pieces and assembled later. This meant lots of small touch-ups during each part of construction

The towers were painted as separate pieces and assembled later. This meant lots of small touch-ups during each part of construction

There were many pieces overall to each tower but once the base color and two sponge colors were determined and a technique was created, we were able to make quick work of them

There were many pieces overall to each tower but once the base color and two sponge colors were determined and a technique was created, we were able to make quick work of them

This image helps to portray the scale of what we worked on. There were six towers in total along with facing and a floor treatment

This image helps to portray the scale of what we worked on. There were six towers in total along with facing and a floor treatment

The rock facing was carved from foam and drilled to the platforms. I used a mix of paint and elastomeric roof coating with strips of cheesecloth to "paper-mâché" the rock.

The rock facing was carved from foam and drilled to the platforms. I used a mix of paint and elastomeric roof coating with strips of cheesecloth to "paper-mâché" the rock.

We worked often while the projection team was working which always made for a fun environment :)

We worked often while the projection team was working which always made for a fun environment :)

Under stage lighting the foam rock facing added to the realism of the set.

Under stage lighting the foam rock facing added to the realism of the set.

The was the reference image the designer had for the floor treatment.

The was the reference image the designer had for the floor treatment.

The assistant designer, Mark Warden, created this elevation for us to know where the blood would be placed on the set. We also discussed the cracks he wanted to see in the floor treatment and how much to dull down the blood as per the director

The assistant designer, Mark Warden, created this elevation for us to know where the blood would be placed on the set. We also discussed the cracks he wanted to see in the floor treatment and how much to dull down the blood as per the director

This was the sample I created for the floor treatment. It was a scumble of greys and browns with light and dark spatter on top. I later added the "blood" which was a thing red glaze that was mixed with the base grey color in some select areas

This was the sample I created for the floor treatment. It was a scumble of greys and browns with light and dark spatter on top. I later added the "blood" which was a thing red glaze that was mixed with the base grey color in some select areas

This was the set under work lighting. You can really see the contrast between the shades of grey in each section of stone, and where the blood creeps in.

This was the set under work lighting. You can really see the contrast between the shades of grey in each section of stone, and where the blood creeps in.

Since our witch (Noelle Ridolfi) spent so much time on the floor and crawling around there are many beautiful final shots of the set that feature her

Since our witch (Noelle Ridolfi) spent so much time on the floor and crawling around there are many beautiful final shots of the set that feature her

I was concerned that the set would seem too monotone near the start but by the end each little change in saturation made each section stand out that much more

I was concerned that the set would seem too monotone near the start but by the end each little change in saturation made each section stand out that much more

Macbeth 

University of Wisconsin-Parkside

Director
Brian Gill

Assistant Directors
Amy Bates, Hugo Dums  

Stage Manager
Rebecca Finkbeiner 

Scenic Designer/Technical Director
Jody Sekas

Costume Designer
Leslie Vaglica

Lighting Designer
Jessica Baker 

Sound Designer
Kevin Gray

Projections Designer
Petr William

Hair & Makeup Designer
Alyssa Ritacca

Props Designer
Forge Dwyer

Scenic Charge Artists
Maggie Jay, April Sersen

Fight Director
Brian Gill, SAFD

Dramaturg
J Lofty