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Blog entries tagged with behind-the-scenes


The Flying Dutchman: Technical Preparation

Numerous puzzle pieces of scenery for our new production of The Flying Dutchman are assembled to create one cohesive and spectacular vision. 

Flying Dutchman Technical Preparation

This is an early view from the auditorium looking through to the backstage. This bridge weighs nearly 5000 pounds and is an integral and dynamic element of the scenery. The bridge “flies” in and out on cue, controlled by a computerized chain motor console.

Flying Dutchman Technical Preparation

The deck is composed of hundreds of individual pieces of structural steel. When fully assembled with its mirrored surface, the deck becomes the playing area for dozens of cast members.  

Flying Dutchman Scenery Stage Lighting

The  scenery as designed is comprised of layers of vivid imagery  that only become apparent when completed with show lighting and effects. In this image, final preparations are made for the first onstage rehearsal.


Thais: Tech Behind-the-Scenes

If you look closely at the Eros statuettes in Act 2 of Thais you will notice that there are actually two different Eros statuettes. One beautiful shiny Eros sits on a pedestal in the gold room in Scene 1 and the other tarnished and worn-looking Eros (a breakaway prop) gets thrown to the ground in Scene 2.

The breakaway Eros arrived with the set. The gold room Eros is an interpretative sculpture inspired by Hypnos the god of sleep and created by our Resident Lead Scenic Artist Tony Reveles. The statuettes have different appearances to signify the passage of time and the distinctly different emotions and actions of the two scenes. 

Thais Eros sculpture LA Opera Tony Reveles

Using the original Eros statuette as a guide, Tony begins by researching images and then sculpting the head from modeling clay to get a feel for the figure’s dimensions. 

Thais Eros sculpture LA Opera Tony Reveles

Detail of the finished clay model

Thais Eros sculpture LA Opera Tony Reveles

In the next step Tony takes the dimensions from the clay sculpture and free-form draws the figure onto the foam block. 

Thais Eros sculpture LA Opera Tony Reveles

He carves away at the block carefully using precise dimensions from his primary sculpt. 

Thais Eros sculpture LA Opera Tony Reveles

Tony uses precision tools to further detail his final interpretation of the sculpture.  Note the original breakaway Eros head on the right.

Thais Eros sculpture LA Opera Tony Reveles

A coating of acrylic medium is added to seal the porous material prior to the application of the final surface treatment.

Thais Eros sculpture LA Opera Tony Reveles

The figure receives a scenic treatment of aged patina and gold leaf. This is the finished Eros sculpture in the gold room Act 2 Scene1.