New Swan Theater
 Back for a second year at NSSF, we tackled this large production with fervor. With a professional technical staff of three, two interns, and a professional assistant, we were able to make this Pre-Raphaelite production a reality.   My professional intern Allison Kim created the floral palette of the party and built the women's veils with an array of beautiful silk flowers. In additional to these, I built many leather accessories, including every belt, mask, and gauntlet in the show.    
 Director: Cal MacLean  ScD: Jon Lacovelli  CD: Gwyneth ConawayBennison  LD: Kathryn Lawrence  SD: Mark Caspary; Matt Glen
 As a show with a basis in the Pre-Raphaelite artistic movement rather than a historical period, the show took on characteristics of not only the Italian Renaissance but also the late Medieval era. While the decoration and cut of clothing was reminiscent of the Italian Renaissance, the silhouette of the garments in the show maintained a long, narrow shape.   The aesthetic leanings of the Orientalists greatly influenced the party, particularly paintings blurring the lines between both movements. Taking a lead from artists that focused on subjects in Istanbul, the party-goers were adorned with metallic lamee fabrics in balloon pants and kaftans. 
 The second half of the story takes a grand swan dive into tragedy. The show quickly looses its romantic amber and moss green palette. We first see the palette intensify as passionate tempers grow. It quickly decays into the tomb, a sickly version of our romantic palette, as if the paint has rotted before our eyes. 
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