Amber Primm Scenic Design

Act 4

Final moment

Act 2

Outdoors

Act 3

Drawing Room

Act 4

Moving out

THE CHERRY ORCHARD

UNCSA Catawba Theatre | 2013

Directed by Tanya Belov
Lighting Design by Ansel Hollis
Costume Design by Danielle Preston

A purposeful move away from realism allowed for some poetic versatility in scene transitions. Lowering a swing from a tree limb created an outdoor scene, while the presence of a glowing chandelier brought us back indoors.

a long day's journey into night

THEORETICAL | MODEL

UNC School of the Arts

Fall 2014

Set in August 1912, I chose not to base this design on Eugene O'Neill's real summer home per usual. This story is relatable to a variety of homes. Both exposed and hidden, placing this harbor home in a surrealistic setting encourages the audience to engage more emotionally.

LA FINTA GIARDINIERA

UNCSA DeMILLE OPERA | 2014

(FLETCHER FELLOWSHIP)

Stage Direction by Steven LaCosse
Lighting Design by Manuel DaSilva
Costume Design by Katie Goldberg

“The Pretend Garden-Girl” is an Italian, comedic opera set to a classical Mozart score. Most of the action takes place at the Mayor’s garden, and a grotto where our romantic leads lose their minds. All return to the Mayor’s villa where a triple wedding makes for an ending with thrice the happiness.

Wedding Finale

Overture

The libretto’s written backstory was explained through silhouettes during the overture.

Lovers' Duet

Movable hedges created different spacial arrangements, as the characters moved through the villa's garden.

The Grotto

The two-story villa tracked off stage, as the mouth of the Grotto pivoted into place.

Awakening from their madness

GUYS & DOLLS

Paint Renderings for all signs & backdrop (Designer Garrett Daub) UNCSA All School Musical, 2015.

LA RONDINE

Rendered all painted drops (Designer John Coyne) Stevens Center, UNCSA 2012.

LA RONDINE

Can-can Girls Paint Rendering Stevens Center, UNCSA 2012.

CINDERELLA

Show Curtain Rendering (Des. Eduardo Sicangco) Children's Theatre Company, Minneapolis 2013

TALES OF HOFFMAN

3/8" Scale Bed (Designer David Valentino) UNCSA 2013.

ASSISTANT SCENIC DESIGNER

VARIOUS PRODUCTIONS

Skills include research, model building, paint rendering, and drafting. Following are a few references with incredible online portfolios:

John Coyne

Eduardo Sicangco

Robin Vest

For a complete list, please see my RESUME.

the red shoes

THEORETICAL | MODEL

UNC School of the Arts

Spring 2015

The film's 15 minute ballet, based on Hans Christian Anderson's fairy tale, is ripe with potential to be a full length dance. Imagining

the score and choreography could be extended, I have created my own interpretation of this story grounded more in the fairy tale.

While the red shoes are traditionally a symbol of vanity, I have made them signify what

makes you different from everybody else. Comparisons are inevitable, but it is often a dangerous game that can lead to harsh judgments, ostracism, and even difficulty accepting or giving love.

THE RED SHOES

Intro

We begin with Karen as a little girl, in an abstract world of boxes. Her living room is a box, mourners give her gifts in a box, and her mother is buried in a box.

A new town

Now an orphan, a kind woman adopts Karen and brings her to a new town, full of enticing shops. But Karen is drawn to the red shoes, which seem to be just for her.

Confirmation

Karen is now 13 and ready to be confirmed, but she does not look like the other girls. The red shoes start to have a mind of their own, and won't let her approach the altar.

Banished

The white-gloved church goers expel Karen from the town, and the shoes take her on a very long, arduous journey.

The graveyard

Forced to dance through the night, through the seasons, and various landscapes, the shoes bring Karen to face her worst fears in a graveyard full of coffins just like her mother's.

Back to the beginning

After a pas de deux where Karen refuses to walk down the aisle towards the priest, she finds herself back in her childhood home. Trapped and forced to face her priest and judge.

The beginning of the end

The red ribbons on her limbs and arms, are one by one removed by the priest. As each is removed, a wall breaks away revealing a field of dandelions. Her death has brought her freedom and the hope of new life.

the imaginary invalid

THEORETICAL | MODEL

UNC School of the Arts

Spring 2015

(Costume Design by Eduardo Sicangco)

Working from a modern translation by

Constance Congdon, it is full of fart jokes, sexual innuendos, the mocking of “modern” medicine, song, and dance.