PATRICE ESCANDON

MANKIND

PLAYWRIGHTS HORIZONS

DIRECTOR: ROBERT O'HARA

SET DESIGNER: CLINT RAMOS

PROPS MASTER: MATT FREW

MATERIALS: EPS FOAM, PAINT

This is THAT giant golden baby.  Yes, now kinda famous in the theatre world and soon to be perhaps, entering an even wider sphere.  Prop master Matt Frew, asked me, back in October 2017 if I'd want to carve a giant gold baby for an upcoming play at Playwrights Horizons.  I said, "Sure!". 

Finally with the materials loaded into the shop out in Queens the end of October, and some tools to start out with, I kinda stared at the two giant 8 foot blocks of foam and wondering what I had gotten myself into... But I went to it, hacking at it with a sawsall for a day and then acquiring a 4' hotwire bow, started to make some decent progress in busting out the form. I luckily had assistance about a week and a half into the project from a trusted artist friend and former colleague at a certain wax museum.  Well, I have to say, I'm a proud giant golden baby mama!

https://www.instagram.com/p/BeWTTqtAgZV/?taken-by=phnyc

This is the pre-foam coated/gold painted status.  About 120 hours of carving using a hot wire bow, sawsall, and a lot of sanding to get it to this finished point.  Two 8 foot blocks were carved separately, then eventually joined using dowels and adhesives to make a secure bond.  Shaping continued to get it to seemless connection.

Playwrights Horizons made a nice video using some footage I provided of creating the baby and the eventual installation into the theater.

Shhh

Atlantic Theatre Company Stage II

Detailed decorative set/prop piece created to mimic a Victorian anatomical medical model. Using a mannequin form as a base, restructured and sculpted to look like classical Venus figure showing internal organs as a teaching tool.

Built for SPACE DOGS the musical out of papier mache, printed head image mounted on foam board.

Hand needed to be operated by single puppeteer coming out from behind set piece.

Head was separately operated on an extendable painter’s stick to peek out from behind a tall wall.

MCC

Puppet Designer: Amanda Villalobos

2021

Space Dogs the musical

Space Dogs the musical

VENUS

SIGNATURE THEATER COMPANY

SUSAN LORI-PARKS

SET DESIGNER:

PROPS MASTER: CASSIE DORLAND

MATERIALS: NEOPRINE CLAY, BUST

This shows the clay sculpted elements to a pre-made bust form that would be the original sculpt for the mother mold and subsequent molds made in order to facilitate making about 100 replicas of this particular head.  The multiple heads would be used as set dressing revealed in the second act of the play.  

Here is a great video done by Signature Theatre Company that talks about props and the process for duplicating the heads for VENUS!

EURYANTHE

BARD SUMMERSCAPE FESTIVAL

SET DESIGNER: VITA TZYKUN

PROP MASTER: SYDNEY SCHATZ

This was a last minute add to the set of the opera. Carved from pink insulation foam, sanded, then covered with joint compound and rubber bits for texture, painted and decorated with faux grasses, and moss to complete the look. This was just one section out of a total of 40 feet to curve around orchestra pit. There may have been a real frog that hopped around on it at one point....

VINEYARD THEATRE

The Beast of the Jungle

Director: Susan Stroman

Set Designer: Michael Curry

I made this sculptural prop mostly out of recyclables I had at home. Cardboard boxes, newspapers, scrap plastic, etc. attached to a wire armature using tape, then paper mache-ing newspaper and brown craft paper and then adding texture with joint compound, spackle, and glue. Paint treatment done using acrylic paint. Needed to be very light weight and the base hidden. I enjoyed making this piece in my home studio apartment!

THE WRECKERS

BARD SUMMERSCAPE FESTIVAL 2015

DIRECTOR: THADEUS STRASSBERGER

SET DESIGNER: EARHART ROMM

MATERIALS: GREAT STUFF EXPANDABLE GAP FILLER FOAM, PAINT

These didn't make it into the show, but they illustrate how versatile expandable foam can be with basic carving skills and a keen painting ability.

SHORT INDIE FILM: BUTTERFLIES

MATERIALS: PINK FOAM, FEATHERS, NYLON, PAINT

In a very short time frame of a couple days, made this chrysalis of the species Colias Alexandra for the short film, BUTTERFLIES. They were adamant about it looking like this specific type, which was fun to try and create the effect of the fine silk covering the almost ready to emerge transformed life, which also was very symbolic to the film's central theme.

Along with two other scenics, carved over 64 feet of polystyrene foam to create interior display walls for the store Boneyard Pets. Carving to look like windswept sandstone strategically leaving outcropping for display shelves. Also created exterior store walls for 3-D printed dino bones to look like excavation site rock. Project took two weeks to complete. Painting eventually done by another scenic.

THE WRECKERS

BARD SUMMERSCAPE FESTIVAL 2015

DIRECTOR: THADDEUS STRASSBERGER

Had to distress about 20 or so lanterns for certain chorus members that would be carrying them. The setting of the opera is on the coast of Cornwall in the 1700's. The aesthetic had to be that the objects from this small fishing village are all remnants from pillaged ships. So it was important to imply water damage and rust as well as perhaps salt water encrusted nooks and crannies as well as smoke marks from constant use as this would have been one of their only sources for light.

DAPHNE'S DIVE

SIGNATURE THEATRE COMPANY

SET DESIGN: DONYALE WERLE

SCENIC CHARGE: BRIAN HOWARD

 OFF-BROADWAY latex paint built up in about 15 various layers over vaccuformed plastic bricks.

ACRYLIC ON WOOD

TOUR: BLIPPI LIVE!

SET DESIGN: DAVID GALLO

I was the paint charge for this multi object project, the more complicated one being this party machine. There was also a monster truck, tool box, and Hot Wheels ramp. I worked with a great team of painters to make this happen at the PAPER MACHE MONKEY shop in Brooklyn.

OPERA: THE WRECKERS

SET DESIGN: ERHARD ROM

Painted using acrylic, joint compound for texture, and painted felt to create barnacle and seaweed weathered look for boards that would be part of an onstage pile.

OPERA: EURYANTHE

BARD SUMMERSCAPE FESTIVAL 2014

SET DESIGN: VITA TZYKUN

Turned a greyish looking rubber goat into a tasty looking roast morsel for the wedding banquet scene of the opera.  Painted with acrylic and gloss medium. Repositioned legs and cut off ears and made eyeballs look roasted.

OIL ON WAX (DETAIL)

YALE REPERTORY COMPANY

Acrylic and latex paint on wood.

CLASSIC STAGE COMPANY

THE LIAR

SET DESIGN: ALEXANDER DODGE

Acrylic on wood. 

Along with Paper Mache Monkey, I worked with Production Glue to help create this snowy scene using clear polyurethane resin and fake snow.

VENUS

SIGNATURE THEATRE

PROPS MASTER: CASSIE DORLAND

After the head casting was in progress, I established the painting process for the duplicated heads that had to all look exactly the same.  Luckily the heads had a tinted resin coating, so had a nice pinkish skin tone to begin with.  Brought in the warm tones first and then added the siennas and finally darkest browns and blacks and little detailed attributes of the eyes and lips. Not supposed to be overly detailed or realistic. Supposed to give the essence of carnival/amusement park statues.

WAR

LINCOLN CENTER THEATRE

PROP MASTER: MATT FREW

Using photo references of the actor this casting is taken from, I recreated her skin tone using silicone paint.  Building up warm undertones first then going in with cooler tones and darker details. Life cast done by Matt Frew.

DEMON

BARD SUMMERSCAPE FESTIVAL 2018

DIRECTOR: THADDEUS STRASSBERGER

SET DESIGNER: PAUL TATE DEPOO III

Thinned out acrylic dripped onto mattress. Needed to give the appearance of a possible misscarriage residue.

ACRYLIC PAINT

Painted this for my best friend from college before she had her first child. I wanted it to be whimsical and fun and colorful, she knew she was having a girl, but I didn't want it to be "too girly" but gender neutral enough if she had a boy later in life.

Made for a production at Lincoln Center Theatre, this was created by carving polystyrene, wings and legs were separate pieces later attached. Using modpodge to create a skin texture over the entire surface after it was then with carefully painted to create a nice roast coloring. Adding hand made garnishes of russet potatoes sculpted from model magic, and premade lemons and apples, this mouth-watering dish was complete.

I created her during the master class Bringing to Life a Puppet workshop with master puppet builder Matt Jackson at the FigurTeatre in Stamsund, Norway.

In ten days we sculpted, molded, casted, painted, and brought to life a puppet of our own design and creation in a scenic remote part of the Lofoten Islands. Using natural, environmentally friendly techniques honed by Matt Jackson.

An incredible experience I will never forget.

Refuge Plays

Roundabout Theatre Company(Laura Pels)

Created using a taxidermy body base, real feathers, magic sculpt, muslin, wire, acrylic modeling medium, double sided clear tape.

Majority of body feathers are pluckable to reveal turkey skin underneath. Wings rigged with balsa wood attachments to be broken off by actor each performance. Strategically placed feather clumps hot glued onto muslin patches could be attached/removed to/from body with double sided clear tape.

Made from muslin, feathers, polyfill, resin, reclaimed parts of a toy gull.

Carved Polystyrene foam, wire, fabric, feathers, resin, paint

Made from muslin, polyfill, faux fur, feathers, magic sculpt, gaffers tape, and wire. Used in an Independent film.

Made from polyurethane foam, scrap fabric, paint, string.

Short turnaround time to make a “gross dead fish” for a musical where the princess character carries it around as her “best friend”.

Used in a new musical Off Broadway.

BABES IN ARMS (NYU STUDENT PRODUCTION)

SET DESIGNER: ANDREW DIAZ

This puppet was built from wire, foam, and fabric. It had to be built to withstand a tug-o-war, but also to be simply puppeteered by students. I built it so legs and head were connected with a continuous wire to allow chicken to be "stretched" length wise while being pulled, but also so it could easily be reconfigured to a standing position.

During lockdown of 2021, I had the amazing opportunity to participate in a 3 week Lambé Lambé workshop with the wonderfully creative and gracious Nina Vogel through Open Eye Theatre company. I created and performed my own original Lambé: story, puppets, scenery, lighting, mechanisms, and sound. Lambé, a unique Brazilian style of puppetry and performance, is meant to be performed one-on-one repeating your work for each individual as they view your piece through a peep hole into a magical world you create. For this project we recorded our pieces to be shared over Zoom with fellow participants. This was a cathartic and incredible creatively uplifting experience.

Link to video here.

My first Henson-style puppet. Dreamed up while playing the accordion, he is a sea shanty singing, rum guzzling, traveler of the high seas. He has made appearances in Bryant Park's Accordions Around the World Summer Festival in 2013 and 2014

A commissioned puppet to be the mascot of a children's program "MPowerr" to educate youth on the importance of Meditation Music and Movement.

In collaboration with Director and Designer Doug Fitch, these were created using polyurethane foam, cut and carved and strung to be manipulated using a pivoting handle to move the head. The jointed legs on piano wire connectors created natural organic movement when lightly picked up.

Performed by vocal arts students with no real puppeteering training, but because the mechanics worked so effortlessly, when they brought them out on stage, the magical life likeness of these cute fox babies had the audience make an audible squeal of delight!

Created with EVA foam, fabric, and armature wire, this dragon made a quick appearance in a chaotic scene towards the end of WGID. Body built by Joshua Yocum, Puppet body supports created and installed by myself and wings built by myself, as well as head.

MERRILY WE ROLL ALONG

ROUNDABOUT THEATRE COMPANY (LAURA PELS THEATRE)

Actor Controlled puppet with rods to animate “sleeve arms” and center rod to hold up in back. Suit needed to swing on central rod and was attached to a wooden clothing hanger bolted to rod. Framed Picasso painting had to be super light weight, so was constructed using foam board, cardboard, and glued on canvas for texture image printed out and then drawn over with oil pastel to keep painting texture.

BOBBIE CLEARLY

ROUNDABOUT UNDERGROUND

SET DESIGN: ARNULFO MALDONADO

PROP MASTER: ANDREW DIAZ

DIRECTOR: WILL DAVIS

This is the second incarnation of the Casey Puppet for Bobbie Clearly. The material of paper mache over the foam head was a very specific design choice. The concept is that this puppet was made by the main character as a part of in prison therapy sessions over a period of time. So, it's supposed to have a meticulous quality about it, yet have a slightly rough finish, in that it wasn't professionally made.

Commissioned by a friend to make a specialty toy for his 7 year old son. Made based on illustrations from a book. Fleece, polyfill, various fabrics, worbla, paint, felt.

BARD SUMMERSCAPE FESTIVAL 2018

DEMON

DIRECTOR: THADDEUS STRASSBERGER

SCENIC DESIGNER: PAUL TATE DEPOO III

My journeyman artisan and shop carpenter built the bier and I added the wooden appliques and decorative fringe and tassels along with the faux woodgrain and gold paint treatment.

The flower shroud was based on the director’s inspiration of Pre-Raphaelite Ophelia imagery. Flowers from our stock and shopped for were sewn or glued and placed on black tulle netting. Directionality of the flowers was very important to create and nice draped over hang. The overall arrangement was toned down with glossy woodtone.

DIMITRIJ

BARD SUMMERSCAPE FESTIVAL

SET DESIGN: DAVID ZINN

Built this decorative crozier top with a variety of materials making an armature out of decorative hooks, then covering and sculpting in air dry clay and coating with epoxy.  Attached to staff with threaded rod and spray painted with Krylon bright gold.  Embelished with faux jewels.

THE WRECKERS

BARD SUMMERSCAPE FESTIVAL

DIRECTOR: THADDEUS STRASSBERGER

Built this guy from cutting up a stuffed animal, string and wire for guts and tail. It had a velcroed stomach that would allow the insertion of a blood sponge so when the singer held it in her hand she would squeeze it and have blood come out. Had to have a wet, disgustingly matted fur look.

BARD SUMMERSCAPE FESTIVAL 2018

THE DEMON

DIRECTOR: THADDEUS STASSBERGER

SET DESIGN: PAUL TATE DEPOO III

Made from bunches of scrap fabric and gaff tape to form the body, and then sewed into a canvas shroud tied with twine, also sewn to body. Some cardboard reinforcement to aid in some stiffness so it wasn’t too floppy. This body gets dropped into a grave at the end of the Opera.