Set and Costume Design by

Niki de los Reyes-Torres, PATDAT

for

Repertory Philippines' production of

MULAN

Scenography for the play written by Daniel Hoffmann-Gill

the dramatic candlelit virinas of San Jose de Pila's carroza de dos pisos.

Set and Costume Design by

Niki de los Reyes-Torres, PATDAT

for

Repertory Philippines' production of

MULAN

The Hondtvelt house - rear.

Built on location in West Dover, NS. Based on photograph of original house (c. 1880) Isles of Shoals, NH.

Scenography for the play written by Daniel Hoffmann-Gill

Figueroa in Highland Park, as Central Avenue in South LA, 1949. (photo by Cris)

CCXXP Cologne 2019

www.propbox.de/

The making of the Fuglane scenography

Set design for CityTV's CityLine. Designed and styled by Lesley Denford

watermarked with picmarkr.com

Production Design and Execution by

Niki de los Reyes-Torres, PATDAT

for Gingerbread Man's Easter

Easter 2010

Figueroa in Highland Park, as Central Avenue in South LA, 1949. (photo by Cris)

set and costume design by

Niki de los Reyes-Torres, PATDAT

for Andrew Lloyd Webber and Time Rice's

Jesus Christ Superstar

De LaSalle Santiago Zobel

March 2011

photographs courtesy of Alejandro Rivera

Sketch for Macbeth by William Shakespeare - Oil Pastels -

No photoshop manipulations

© All rights reserved

Set and Costume Design by

Niki de los Reyes-Torres, PATDAT

for

Filipinescas: Philippine Life, Legend, and Lore in Dance

Cultural Center of the Philippines

Plate of set design by Donald Oenslager for The Birds by Aristophane in Settings & Costumes of the Modern Stage by Theodore Komisarjevsky and Lee Simonson. London: The Studio, Limited; New York: The Studio Publications, Inc., 1933. PN2091.S8 K6

designed and executed by

Niki de los Reyes-Torres, PATDAT

Direção:Marcos Mazzaro

Assist. Direção: Erika Bernardo

Cenografia:Carlos Augusto Campos e

Léo Jesus

Assist. Cenografia:Juliane trancoso e Mariana Feijó

Figurino: Luciana Moura e Tâmi Borges

Elenco: André de Luca, Eduardo Gomes, Emilie Andrade,Gabrielly vasconcellos, Luciano DeSilva e Tetsuo Takita.

Scenography for the play written by Daniel Hoffmann-Gill

vintage cinema projector

www.cinemeccanica.eu/

part of my work at Uranya movie www.tind.gr/projects/uranya-set-design/

Figueroa Street in Highland Park as 1949 Central Avenue in South L.A.

Set Design for The Great Gatsby

Performed at Oregon Theater Company

Set Design by Steen Mitchell

Scenic Artist Sarah Refvem

February 2014

Perspective, Chapter Arts Centre, Cardiff, New Vic Studio, Bristol Old Vic, February 2000

Writer: Mark Ryan

Director: Jeff Teare

Designer: Carolyn Willitts

Theatre Company: Made in Wales

Photographs: Carolyn Willitts

Set in a bar in the Weimar Republic in Germany 1993, the backcloth was a painted montage of the characters from the play in the style of George Grosz. This play formed a double bill with Venus, and was designed to incorporate a quick set change in the interval.

Direção:Marcos Mazzaro

Assist. Direção: Erika Bernardo

Cenografia:Carlos Augusto Campos e

Léo Jesus

Assist. Cenografia:Juliane trancoso e Mariana Feijó

Figurino: Luciana Moura e Tâmi Borges

Elenco: André de Luca, Eduardo Gomes, Emilie Andrade,Gabrielly vasconcellos, Luciano DeSilva e Tetsuo Takita.

Figueroa in Highland Park, as Central Avenue in South LA, 1949. (photo by Cris)

Painters perpare a production set at the Royal Opera House's purpose-built Production Workshop in Thurrock.

John Reed Forsman Photography;

Lisa b. Hammond, set design and styling

If only they could just leave it like this when they leave...

Set and Costume Design by

Niki de los Reyes-Torres, PATDAT

for

Filipinescas: Philippine Life, Legend, and Lore in Dance

Cultural Center of the Philippines

Figueroa Street in Highland Park as 1949 Central Avenue in South L.A.

Sandy Yalkin's AMAZING set for The Temple, by Nat Cassidy. Produced at The Brick Theatre in February, 2014. I only wish I had been available to take their production photos, too!

Want Isaiah to take pictures of YOUR production?

isaiaht@gmail.com

917-692-5737

www.isaiahtpd.info

www.facebook.com/theatricalphotography

set and costume design by

Niki de los Reyes-Torres, PATDAT

for Andrew Lloyd Webber and Time Rice's

Jesus Christ Superstar

De LaSalle Santiago Zobel

March 2011

photographs courtesy of Alejandro Rivera

Dominant Submissive Project

Lo chiamavano Jeeg Robot - Il regista Gabriele Mainetti incontra gli studenti RUFA.

the set for ¿Are You There?

directed by Daniel Giménez Cacho,

set and costume design: Eloise Kazan,

Teatro El Galeon, Mexico City 2005

looks like it might have been for Test the Nation

Production Design by Niki de los Reyes-Torres, PATDAT

Location: Genabe Ancestral House, Pola, Mindoro Oriental

please check out www.bigboylovesyou.com for more details

Production Design by

Niki de los Reyes-Torres, PATDAT

for Theater Down South's

The Princess and the Red Carp

at the PODIUM

February 2010

Production Design and Execution by

Niki de los Reyes-Torres, PATDAT

for Theater Down South's

The Princess and the Red Carp

2010

set and costume design by

Niki de los Reyes-Torres, PATDAT

for Andrew Lloyd Webber and Time Rice's

Jesus Christ Superstar

De LaSalle Santiago Zobel

March 2011

photographs courtesy of Alejandro Rivera

Saturday Night Forever, Chapter Arts Centre, Cardiff. Sherman Studio, Cardiff. Venue 13, The Edinburgh International Fringe Festival, June 1998

Writer: Roger Williams

Director: Steve O’Reilly

Designer: Carolyn Willitts

Theatre Company: CF1 Theatre Company

Photographs: Carolyn Willitts

“Saturday Night Forever adds to the new cool Wales phenomenon.” The Scotsman

"As a political event, Saturday Night Forever, is important" Western Mail

"An eye opening and captivating piece of tragicomedy" Theatre in Wales

"Saturday Night Forever is a roller-coaster ride through Cardiff's night life. It follows Lee, a 20-something living in the heart of the city as he finds the love of his life, and then loses him again. A fast, real, and touching story about what it means to be young and gay in urban Wales."

The minimal set was designed on a low budget to tour in the boot of a car, and was created using some of the off cuts of the opal polycarbonate left over from My Piece Of Happiness. The square panels were painted with thick bright paint from which graphics were scratched out referencing some of Derek Jarman’s last paintings.

The hanging panels could be back lit with white light, which made the scratch marks glow, or front lit using gels the same colour as the paint which made them glow vividly in the surrounding blackness. The sound and lighting designer and technician took his place on the stage throughout the performance and took the part of the dj for the nightclub scene. I'm now married to him.