Scenic Design Calendar

The Glass Menagerie came to Maples Repertory Theatre in Macon, Missouri, as a memory play held between domestic realism and emotional distortion. Directed by Kimberly Braun, Tennessee Williams' portrait of the Wingfield family asks the scenic world to carry contradiction: the apartment must feel specific enough to trap Tom, Amanda, and Laura, while also remaining unstable enough to belong to recollection rather than documentary fact.

Brandon PT Davis's scenic design shaped the Wingfield apartment as a layered interior of platform, threshold, and drift. The central playing space gave the family a clear domestic pressure point, while surrounding fragments, loose architecture, and memory-wall imagery allowed the room to feel partial and haunted. This archive event preserves the production context and links to the full portfolio project, where the production photography and design writing show how the set held intimacy, absence, and escape in the same frame.

Million Dollar Quartet opened South Coast Repertory's 2025-26 season by returning to the December 1956 meeting of Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins at Sun Records. Originally directed for SCR by James Moye and directed by Kim Martin-Cotten, the musical depends on the feeling that history is being made in a room small enough for everyone to hear one another breathe before the music lifts it into myth.

Designed by Brandon PT Davis and Efren Delgadillo Jr., the scenic world treated Sun Records as an intimate working studio with the pressure and electricity of a live concert space. Period recording equipment, wood floors, control-room windows, gold records, and an illuminated SUN sign let the room stay grounded while still opening toward rock-and-roll spectacle. This archive page connects the public production record to the portfolio project, where the images and walkthrough show how the studio became both a place of work and a stage for memory.

All's Well That Ends Well joined New Swan Shakespeare Festival's 2025 repertory season as a Romantic-era reading of Shakespeare's uneasy comedy, directed by Rob Salas. The production follows Helena's pursuit of Bertram through questions of class, desire, obligation, deception, and courage, making the story less a simple romance than a theatrical argument about how far someone can move through a world determined to keep rank and feeling in separate rooms.

For Brandon PT Davis's scenic design, the New Swan stage became a place of reveal and transformation rather than fixed architecture. Drapery, heraldic signage, warm stucco texture, and operatic transitions allowed the production to move between the ceremonial restraint of Roussillon and the more open, volatile world of Florence. As an archive event, this page records the production context while the full portfolio entry carries the visual documentation, including production photography and the design notes behind the scenic system.

Much Ado About Nothing arrived in New Swan Shakespeare Festival's 2025 season as a Wild West version of Shakespeare's comedy, directed by Eli Simon. The familiar sparring of Beatrice and Benedick, the public performance of masculinity, the volatility of rumor, and the joy of communal repair were all sharpened by a frontier setting where everyone is watching, bluffing, teasing, and protecting their own pride in plain sight.

Brandon PT Davis's scenic design treated the western frame as behavior, not decoration. Saloon architecture, rough timber, practical thresholds, and repertory-friendly pieces gave the actors a public room for eavesdropping, pursuit, entrances, music, and comic collision while keeping the New Swan stage agile enough for alternating repertory. This archive event connects the production's public dates and creative context to the portfolio project, where the production photographs and design writing show how the scenic world supported speed, wit, and live theatrical play.

Bell, Book, and Candle played Okoboji Summer Theatre in July 2025 as John Van Druten's lighthearted 1950s comedy about enchantment, romance, and the consequences of falling honestly in love. Directed by Richard Biever, the production needed a world that could welcome supernatural possibility while still feeling like a complete, lived-in New York apartment where the social comedy could land naturally.

Brandon PT Davis's scenic design built that world through mid-century domestic realism: practical doors, built-in shelving, defined wall planes, furniture pathways, and a green palette that gave the room warmth without overplaying the magic. The apartment held wit and intimacy first, letting the enchantment appear through atmosphere and behavior. This archive event links the public production record to the portfolio project, where the production images and design notes show how the room stayed human, functional, and quietly theatrical.