Designing Million Dollar Quartet at South Coast Repertory was about capturing both the intimacy of a recording studio and the energy of a cultural turning point. The set, created in collaboration with co-scenic designer Efren Delgadillo Jr., director James Moye, and associate director Kim Martin-Cotten, grounds the action in Sam Phillips’s Sun Records studio while heightening the theatricality of the music itself.

The illuminated “SUN” sign, inspired by Elvis Presley’s concert signage, anchors the design as both a historical reference and a beacon of rock ’n’ roll. Around it, the details of the studio — wood floors, gold records, and instruments ready to play — create a space where audiences can feel the immediacy of collaboration. The design celebrates the moment when four musicians came together, pushing one another toward a sound that would change American music forever.

Scenic design by Brandon PT Davis for Shakespeare’s Much Ado About Nothing. Produced at the New Swan Shakespeare Festival, the design reimagined the comedy as a Spaghetti Western, complete with a saloon backdrop, swinging doors, and hand-painted red wallpaper that grounded the farce in a dusty frontier world.

Scenic design by Brandon PT Davis for Shakespeare’s All’s Well That Ends Well. Produced at the New Swan Shakespeare Festival, the design embraced the Elizabethan-style outdoor venue, layering minimal architectural elements and adaptable staging to support repertory storytelling.

Scenic design by Brandon PT Davis for the world premiere of Xiomara Cornejo’s Romero. Produced at the University of Missouri–Columbia in 2025, the design featured a cruciform arch, fractured platform, and star-marked black floor, creating a ritualistic space for themes of grief, faith, and historical reckoning.

Scenic design by Brandon PT Davis for Guys on Ice at the Great American Melodrama. The design featured a compact ice shanty that opened to reveal a richly detailed, Wisconsin-inspired interior, creating both intimacy and playful spectacle for this musical comedy.

Scenic design by Brandon PT Davis for the 2024 production of Urinetown at the University of Missouri–Columbia. The dystopian set featured fractured walls, rusted textures, and looming industrial forms, creating an oppressive environment that mirrored the musical’s satirical bite.

Scenic design by Brandon PT Davis for Neil Simon’s Barefoot in the Park. Produced at Okoboji Summer Theatre, the design recreated a cramped New York walk-up apartment, complete with slanted ceilings, a tricky skylight, and imperfect details that amplified the humor in Simon’s romantic comedy.

Scenic design by Brandon PT Davis for Disney’s Freaky Friday. Produced at Okoboji Summer Theatre, the design emphasized transformation and versatility with bright color, layered units, and playful details that reflected the musical’s family-centered comedy and magical body-swap premise.

Scenic design by Brandon PT Davis for Marc Camoletti’s Boeing Boeing. Produced at Stephens College, the design featured a stylish 1960s apartment with multiple doors, heightening the play’s farcical pace and comic timing.

Scenic design by Brandon PT Davis for the jukebox musical Head Over Heels, featuring the music of the Go-Go’s. Produced at Theatre SilCo (formerly Lake Dillon Theatre Company), the design combined classical references with playful, vibrant colors to reflect the mashup of Elizabethan comedy and 1980s pop spirit.

Scenic design by Brandon PT Davis for Shakespeare’s The Merry Wives of Windsor. Produced at Stephens College’s Macklanburg Playhouse, the production was set in the 1950s, with a suburban façade and a series of doors that amplified the farce through playful timing and visual humor.

Scenic design by Brandon PT Davis for J.B. Priestley’s An Inspector Calls. Produced at Stephens College, the design emphasized class tension and looming mystery with a richly detailed Edwardian setting, layered architecture, and shadow-driven atmosphere.

Scenic design by Brandon PT Davis for Stephen Sondheim’s A Funny Thing Happened on the Way to the Forum. Produced at Lake Dillon Theatre Company, the design featured three distinctive Roman houses in a stylized, cartoon-inspired manner, blending classical motifs with farcical energy.

Scenic design by Brandon PT Davis for Tomás and the Library Lady, adapted by José Cruz González from the book by Pat Mora. Produced at Lake Dillon Theatre Company, the design created a welcoming library with warm wood tones, versatile shelving, and a central desk as the storytelling hub.

Experiential design by Brandon PT Davis and Gretchen Ugalde for Contra Costa Properties’ Park & Shop redevelopment project in Concord, CA. Concept renderings envisioned a refreshed commercial space with improved landscaping, lighting, and storefront appeal.

Scenic design by Brandon PT Davis for Aristophanes’ Lysistrata. Produced at Stephens College, the design highlighted the comedy’s playful irreverence with heightened classical motifs and flexible staging for ensemble-driven storytelling.

Rendering and experiential design by Brandon PT Davis for Southside Bethel Baptist Church. The concept reimagined the sanctuary with a recessed backlit cross, minimalist columns, and a palette of deep blues, reds, and golds — balancing reverence with contemporary worship needs.

Experiential design contribution by Brandon PT Davis for the New Swan Shakespeare Festival venue at UC Irvine. A unique outdoor space-in-the-round that supports repertory staging, blending Elizabethan influence with modern Southern California sensibilities.

Scenic design by Brandon PT Davis for Margaret Atwood’s The Penelopiad. Produced at Stephens College, the design combined minimalism with ritualistic elements, creating a versatile environment for shifting narratives of myth, memory, and justice.

A collection of scenic models by Brandon PT Davis, built through laser cutting, 3D printing, and traditional craft. These models highlight the integration of digital and physical techniques in the design process.