Below is a selection of shows Veronica has worked on.

Each show includes multiple production and/or process photos and a description of the process, duties, and unique elements.

~ Scroll down to view the full selection of shows.

The shows are divided into PRODUCTION INTERN, COSTUME DESIGNER, PUPPET DESIGNER, PROPS DESIGNER, CARPENTER,

MASTER ELECTRICIAN, and FOLLOW SPOT.

To navigate to the indiviual sections, press the buttons to the right.

~To jump to a specific show, click on the production photo for that show.

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COSTUME DESIGNER

PUPPET DESIGNER

Musicals

Plays

Dancing with the Ada Stars

Camelot

Nunsensations

The Producers

Reefer Madness

COSTUME DESIGNER

PUPPET DESIGNER

PROPS DESIGNER

CARPENTER

MASTER ELECTRICIAN

FOLLOW SPOTLIGHT

Costume Designer

One Acts '16

Puppet Designer

Taking Flight

Props Designer

Carpenter

Master Electrician

Followspot

Measure for Measure

Proud Son

Camelot

39 Steps

Bus Stop

Nunsensations

Producers

Dancing with the Ada Stars

Reefer Madness

PRODUCTION INTERN

Reefer Madness

"The Orgy"

Full Company

"Listen to Jesus, Jimmy"

Jimmy, Jesus, Satan, and the Angels

"Tell 'em the Truth"

Full Company

"The Orgy"

Full Company

1/6

Scope of Project: This production took place in a studio theater, so the spotlights were situated along the south wall pointed toward the stage. Our spots were source fours and I was the far stage right spot. I usually spotted Mae or Mary. My pre-show duties included running Channel Check and helping with mics. Due to the costumes, the mic placement of the female ensemble was in the small of their back, so I would help. Likewise, Sally's mic needed special placement which I was also in charge of. After the show, I would clean up spilt blood and strike any props left on the stage.

Music by Dan Studney

Lyrics and Book by Kevin Murphy

October 18-21, 2012

Stambaugh Studio Theatre (ONU) / Ada, OH

Director/Choreographer: Gwen Arment

Musical Director: Michael Jordan

Scenic Designer: Brian Ruggaber

Lighitng Designer: Stan Kaye

Costume Designer: Cathy Smalley

Stage Manager: Saori Yokoo

6 Performances

Cast of 14, Crew of 7

Production team of 14

UNIVERSITY OF SALFORD: PROFESSIONAL practice pROJECTS

Scope of Project: Ohio Northern has a working relationship with the University of Salford. Working with their second-year students, I served as a pseudo Production Manager. The projects ranged from informative introspective pieces, adaptations of classical theatre and folktales, and self-written interest stories. I attended each projects' rehearsals, communicated between the students, technician, and advisor, assisted them in tech, operated the light and sound boards, and posted information about their shows on social media (Facebook, Twitter, etc.). For some groups, I helped create and alter posters, problem solve with them, obtain and transport props and scenery.

May 10-20, 2016

Adelphi Studio Theatre and The White Room / Salford, UK

Director: Niki Woods

Head Technician: Charlie Cragg

7 Projects

1 Performance per Project

Class of 14, Crew of 2

The Silent Salford

A look at crime in Salford

I Like It When You Sleep

A visual response and exploration of a 1975 album.

Medea

An adaptation of the Greek Tragedy written by Euripides.

The Silent Salford

A look at crime in Salford

Prof. Prac.

Production Intern

PRODUCTION INTERN

Dancing with the Ada Stars with the Utah Ballroom Company

Scope of Project: Dancing with the Ada Stars is a game show very similar to Dancing with the Stars. Utah Ballroom Company is a touring troupe who work with local “celebrities” and teach them how to dance. At ONU, they taught two dances to the student cast and worked with six contestants on different styles of dance. As the master electrician, I worked on circuiting and hanging the plot. The House ME and I communicated with with touring company and in-house staff about equipment and downsizing their original plot. During tech, I trouble shot non-functioning lights and was the main liason with the volunteer theatre students.

Opening Number

Sybil Anast and Patrick Riley

Opening Number

ONU Company

The Ada Stars

Casey and Matt

Opening Number

Sybil Anast and Patrick Riley

1/6

October 4, 2014

Biggs Theatre (ONU) / Ada, OH

Production Manager/Lighting Designer: Jesse Maher

Stage Manager: Elizabeth Roth

House Master Electrician: Tyson W. Miller

1 Performance

Student Cast of 21, Crew of 8

Production team of 11

the producers

SPECIFIC SET PIECES

Platforms: We built hollywood flats to create the walls for the platforms. Some flats needed to be covered on both sides because the theater doubled as Roger's house. Each platform had casters attached for mobility.

Roger's Staircase: Using a stock platform, we added stairs and covered with luan. Due to the curve we had to be careful when attaching the luan so it wouldn't splinter. The spindles and handrail were made using the table saw. We used a jig saw to cut the spindles at the correct angle for the handrail to sit.

Music and Lyrics by Mel Brooks

Book by Mel Brooks and Thomas Meehan

June 27-31, 2014

Huron Playhouse / Huron, OH

Director/Scenic Designer: Michael Rader

Musical Director: Joshua Cutting

Choreographer: Pamela Shirtz

Technical Director/Lighitng Designer: Maxwell A. Schnur

Costume Designer: Elizabeth Verslues

Stage Manager: Hillary Collazo Abbott

5 Performances

Cast of 23, Crew of 6

Production team of 12

"Bavaria"

Franz Liebkind

"Keep it Gay"

Leo, Max, Roger, Carmen, and Design Staff

"Leo and Max"

Max and Leo

"Bavaria"

Franz Liebkind

1/6

Process
Product
Performance
Product
Product
Performance

Scope of Project: Being the first show of the 66th season at the Huron Playhouse, The Producers had a longer build time than the other shows in the season (two weeks as opposed to one). The set consisted of platforms that wheeled on and off stage as well as additional furniture pieces. During the performances, I operated a follow spot and helped with the intermission scene change.

nunsensations

SPECIFIC SET PIECES

Poker Chip Chair: To create the round shape, I used 2X4 to create a basic structure. To wrap the luan and attach it, we doused the luan in water and screwed it onto the structure. If the luan got too stiff we would add more water. Additional foam poker chips were placed on top of make the stack seem unbalanced.

Holy Roller Game: For the slots we covered wagon spools with luan and decorated them accordingly. These were then placed on a pole which lived in the 2X4 frame of the game. Two crew members would spin the slots to make them match as needed.

Music, Book, and Lyrics by Dan Goggin

July 1-5, 2014

Huron Playhouse / Huron, OH

Director/Scenic Designer: Jennifer Wertz

Musical Director: Joshua Cutting

Choreographer: Pamela Shirtz

Technical Director: Maxwell A. Schnur

Lighting Designer: Tori Mays

Costume Designer: Elizabeth Verslues

Stage Manager: Dayne Sundman

5 Performances

Cast of 5, Crew of 4

Production team of 12

The Shtick

Sister Mary Leo, Sister Mary Hubert, and Sister Robert Anne

"T. and A."

Sister Mary Regina and Sister Robert Anne

"Life is a Game of Chance"

The Sisters

The Shtick

Sister Mary Leo, Sister Mary Hubert, and Sister Robert Anne

1/6

Process
Process
Product
Performance

Scope of Project: Nunsensations is the Nunsense musical based in Las Vegas. For this show, we had to build a band platform and dress it in casino-esque dressings, including dice, cards, poker chips, etc. The biggest challenge was the “Holy Rollers” game that appeared later in the show. My duties included legging and securing the platforms together, building the dice set dressings and the "Holy Rollers" game.

bus stop

SPECIFIC SET PIECES

Bar: The bar was made with 2X4 and ¾ ply. It needed to be able to hold the weight of one of the actresses so for added safety, we added stage weights to the shelf.

Magazine Rack: This rack is made from ¾ ply. I used the table saw and jig saw to cut out the pieces and angle the edges.

Written by William Inge

July 8-12, 2014

Huron Playhouse / Huron, OH

Director: Lisa Ortenzi

Scenic Designer: Schyler Graham

Technical Director: Maxwell A. Schnur

Lighting Designer: Tori Mays

Costume Designer: Elizabeth Verslues

Stage Manager: Hillary Collazo Abbott

5 Performances

Cast of 8, Crew of 4

Production team of 10

The Roads are Blocked

Grace and Carl

The Cowboys

Grace, Bo, Virgil, Will

Talent Show

Elma and Virgil

The Roads are Blocked

Grace and Carl

1/6

Process
Product
Performance
Process
Product
Performance

Scope of Project: Set in a small diner that does not get a lot of traffic, This box set was furnished with tables, a bar, a counter, stove, bench, magazine rack and other furniture pieces. To give the run-down feel, we painted the set with a distressed treatment. I built furniture pieces and hung set dressings. To create snow, we cut plastic bags into quarter-size pieces.

Scope of Project: This fast paced show utilizes furniture pieces as scenery and props. Trunks, bookshelves, windows, and other pieces were used to created different scenes. I built and painted set pieces, added detail work and molding to the window, bookcase, trunks, theatre box, and fireplace. To help with mobility, we placed casters on the bottom of the set pieces.

Process
Product
Performance
Performance
Process
Performance
Performance

Murder

Richard Hannay and Annabella Schmidt

A Train Ride

Richard Hannay and the Clowns

Merry Christmas

Full Company

Murder

Richard Hannay and Annabella Schmidt

1/6

Written by Patrick Barlow

July 15-19, 2014

Huron Playhouse / Huron, OH

Director/Scenic Designer: Lisa L. Wiley

Technical Director: Maxwell A. Schnur

Lighting Designer: Rachel Fahey

Costume Designer: Elizabeth Verslues

Stage Manager: Dayne Sundman

5 Performances

Cast of 4, Crew of 8

Production team of 10

SPECIFIC SET PIECES

Theatre Box: The box is constructed from four hollywood flats. Additional plywood was added to the top as an accent. The rosettes and fabric was also additional dressing.

Window: After attaching the frame of the window together, I added decorative molding to one side. Both sides of the window are used during the show so the accents differentiated them. Finally, we braced the window with jacks and casters.

The 39 Steps

Camelot

SPECIFIC SET PIECES

Chair: This chair is modeled after a similar chair we had in stock. To match the same curves, I traced the original chair’s shape onto ¾ ply. After creating the shapes, I cut them out with a jig saw. I used screws to attach the pieces together and added extra 2X4 for support.

Tree: This tree was used as an entrance and exit. One of the branches extended off stage for the exit. The bottom was made from fiberglass and the top and added branches are 2X4 and chicken wire. The entire structure is covered in muslin and glue. A textured paint job was done to create the bark effect. Finally, we added shrubbery to the bottom to cover some of the exposed chicken wire.

Music by Frederick Loewe

Book and Lyrics by Alan Jay Lerner

July 22-26, 2014

Huron Playhouse / Huron, OH

Director/Scenic Designer: Jimy Foreman

Technical Director: Maxwell A. Schnur

Lighting Designer: Tori Mays

Costume Designer: Elizabeth Verslues

Stage Manager: Hillary Collazo Abbott

5 Performances

Cast of 23, Children Cast of 10

Crew of 8

Production team of 12

"Camelot"

Guinevere and King Arthur

"Lusty Month of May"

Full Company

"Guenevere"

King Arthur

"Camelot"

Guinevere and King Arthur

1/6

Process
Product
Product
Performance
Process
Product
Performance

Scope of Project: This production was a show of kingly proportions. The Playhouse brought local actors and children into this production on request of the director. The set was larger-than-life and consisted of moving pieces. In addition to build the set, I served as a deck hand backstage. I assisted in scene changes and helped the actors out of their armor.

Performance
Reference
Performance
Process
Performance
Performance
Performance

Scope of Project: ONU holds an International Play Festival every other year, showcasing a new work that has never been performed in the United States. In 2013, we produced Proud Son, a play written by a Japanese playwright. This play delves into the concept “hikikomori”, the extreme withdrawal and isolation of an adult. It was an extremely prop heavy show with items like stuffed animals and children toys. The focal point of the show and visual representation of hikikomori was Friendship Heights, a mountain of light-up toys and action figures.

Tadashi's Mother

Hillary Collazo Abbott

Sister and Brother

Sara Ohm and Garrett Parsons

Man

David James Grant

Tadashi's Mother

Hillary Collazo Abbott

1/6

Written by Shu Matsui

April 25-28, 2013

Stambaugh Studio Theatre (ONU) / Ada, OH

Director: Desdemona Chiang

Technical Director: Brian Phillips

Lighting Designer: Kathe DeVault

Costume Designer: Cathy Smalley

Co-Props Designer: Elizabeth Roth

Stage Manager: Tyson W. Miller

5 Performances

Cast of 6, Crew of 6

Production team of 7

Proud Son

SPECIFIC PROPS

Friendship Heights: Constructed from steel rods that were bent into a dome, this mountain was a compilation of stuffed animals, light-up toys, action figures, etc. Additional toys and animals were placed around the base to add to the organized chaos.

Postcard: The over-sized postcard was made out of foam board. Taking a postcard picture and enlarging it, the photo was then glued to the foam board.

Scrapbook: I used colored printer paper, cardboard, and rubber bands to make a homemade scrapbook. Each night, Sister takes a picture out of the scrapbook and uses it to disguise Brother. I drew and colored multiple pictures of a flower and placed them in the scrapbook. Before each performance, a crew member would place double-sided tape on the back of on drawing for this scene.

Cruise Ship Backdrop: A picture of a cruise ship was needed for the set. Using a plotter, we printed off an over-sized picture of a cruise ship. We applied spray adhesive to attach it to a piece of luan.

Daikon Radish: Daikon Radishes look like turnips or white carrots. We painted stock plastic carrots white to create these radishes.

Written by William Shakespeare

February 20-23, 2014

Stambaugh Studio Theatre (ONU) / Ada, OH

Director: John Robert Armstrong

Scenic Designer: Troy Hourie

Technical Director: Brian Phillips

Lighting Designer: Kathe DeVault

Costume Designer: Paula Unrau

Stage Manager: Ethan Craft

5 Performances

Cast of 13, Crew of 4

Production team of 12

Confession

Juliet and the Duke

Arrest

Angelo, Escalus, Elbow, Pompey, and Froth

Just Revenge

Mistress Overdone, Juliet, Kate Keepdown, and Lucio

Confession

Juliet and the Duke

1/6

Scope of Project: Although not an extremely prop-heavy show, this production had a variety of modern props as well as the period props. The director's concept was the "Timelessness of Shakespeare" thus the costumes and props were a mixture of different times and cultures. Most of the props were either found in prop storage or bought and adapted for our use. Due to schedule conflicts, my co-props designer was unable to help with the majority of the props until tech week. I attended all the meetings (production, designer, director, etc.) and took extensive notes, as well as buying all the props. I fabricated the hand and ankle restraints, head bag, business cards, letters, and commisions. Finally, during tech I taped out the prop table and recorded notes for each of the runs.

measure for measure

SPECIFIC PROPS

Hand and Ankle Restraints: Despite these restraints, the director still needed the actor to have mobility. I used two sets of prop handcuffs and lengthen the chain between them to allow for mobility. I attached the lengthen restraints to a length of decorative chain-link using quicklinks. If an emergency arose, The actor could release the quicklink.

Bloodied Head Bag: The head was made from a plastic skull with a weight screwed to it. To give it more shape, it was wrapped in canvas. The head was placed in a burlap bag that was splotched with red paint. Before entering the stage, the bag was dunked in water, as if it had been bleeding.

Pompey's Business Cards: During pre-show and his scenes, Pompey would hand out Business Cards to the audience. Using Vistaprint, I drafted and created the Overdone Brewery Business cards.

Commissions and Letters: I dyed drawing paper with black coffee grounds and tore the edges to make them look older. The drawing paper has more weight so it worked better than printer paper. Using computer-generated calligraphy fonts, I printed different letters or comissions onto the paper. To add authenticity I used the Privy Council's Oath to the Queen and the Edict closing the theaters in London.

Props Table
Props Table
Props Table
Bloodied Head Bag
Bloodied Head Bag
Performancce
Hand and Ankle Restraints
Performance
Business Card
Letters and Commissions
Performance

2016 student directed one acts: Metamorphoses, mrs. sorken, and subtraction

Research
Research
Fitting
Fitting
Metamorphoses
Eros and Psyche

Research
Research
Fitting
Fitting
Mrs. Sorken
Mrs. Sorken

Research
Research
Fitting
Fitting
Feeding the Pigeons
Subtraction

Scope of Project: This production consisted of three One Acts held in an industrial warehouse space. Similar to a black box theater, the close proximity of the audience to the actors created an intimate atmostphere. I designed three of the four shows and assisted the other designer with her alteration notes. For my designs, I researched, held design talks with the directors, bought and pulled costumes, and altered costumes as needed.

April 21-24, 2016

Mathile Lab Theater (ONU) / Ada, OH

5 Performances

Scenic Designer: Jordan Kimes

Lighting Designer: Kathe DeVault

Selections from

METAMORPHOSES

Written by Mary Zimmerman

Director: Jennifer Giangola

Concept: The ensemble plays a variety of different characters for each story. Each actor had an individual look accented by an additional piece depending on their character. Each base costume was a muted, natural color and loose to allow for movement.

MRS. SORKEN

Written by Christopher Durang

Director: Elizabeth Roth

Concept: To emphasize the eccentric personality of Mrs. Sorken, I wanted to have an older 1950's feel accented in bright colors and a quirky pattern or fabric. In Mrs. Sorken's mind, she is dressed to the nines, but her style is not as put together as she imagines.

SUBTRACTION

Written by Kevin McFillen

Director: Elizabeth Roth

Concept: Held in a futuristic time, not unlike the present, the characters were dressed in everyday garb. Walter, an older gentlemen, has an older, warmer impression jutxaposed against Melanie's colder, modern, business-like demeanor.

DOVES

Concept: Our goal with the doves was to find different ways the puppets could move and fly. The puppets varied between flocks of doves and individual birds. To symbolize courage, splashes of colors were used on some of the birds.

Process: Using styrofoam, tissue paper, dowels, and twine, we created some of the soaring doves (Kayla's design). A flock of doves was made of orgami paper attached to a dowel at different lengths by twine (my design). Finally, the flapping doves were made by wire, cardboard, styrofoam, and feathers (Meriah's design).

Scope of Project: This project was a children’s theatre production that toured around Northwestern Ohio. The play used puppets as a means of finding courage and standing up to different types of bullying. The puppets added extra movement and were engaging to student who may have never seen a theatre show before. My main puppet focus was the Giant Serpent, although I did help with the dove puppets, while the co-puppet designer created the Flying Head puppet. Together we researched and brainstormed on how to build the puppets, shopped for supplies, constructed, problem-solved, and detailed the puppets.

***Due to the nature of this project, the identity of the audience needed to be secure and protected. The faces of the children and faculty members have been obscured***

Taking flight: tales of courage

Doves

Resting

Doves

In Flight

Flying Head

In Action

Doves

Resting

1/6

Written by Tori and Jason Tomalia

March-April 2015

Local Elementary Schools (NW Ohio)

Director: Meriah Sage

Co-Puppet Designers: Kayla Burress and Meriah Sage

Costume Designer: Nicole Giangola

Cast of 14

8 Puppets

TWO-HEADED GIANT SERPENT

Concept:The Two-Headed Giant Serpent is the antagonist in the Chinese folk tale"Li Chi Slays the Serpent". This puppet needed to be operated by four actors: two with the head and two with the body. Similar to a Chinese Dragon, poles were used to operate the length of the body.

Process: To make the heads, I started laying out and constructing them out of foam. The body was constructed from dryer venting covered in fabric, and attached to dowel rods. I cut holes into the neck section for the operators' arms to fit through. Oven mitts were sewn to the foam head which were then covered in fabric and attached to the neck section to cover the opening. An extra fabric flap was sewn on to the lower jaw to stablize the head and allow more movement. Finally, two styrofoam eggs were cut in two, spray painted, and attached to the heads as eyes.