America's oldest, longest running Outdoor Symphonic Drama, since 1937.
Production Design:  William Ivey Long
Producer:  Carl V. Curnutte III

For more information on
The Lost Colony, please visit www.thelostcolony.org
Scenic Art on the stage of Waterside Theatre, Manteo, NC
Shown above are William Ivey Long's stage interpretation of Algonquian Indian huts
modeled after Artist and Cartographer John White's original 1580's watercolors (left).  
Unlike the true twig and grass dwellings, Long's are constructed with shaped conduit
wrapped in burlap and glue and covered first with a layer of burlap on the inside,
landscaping erosion mesh, and then grass beach mats layered on the outside of each hut.  
Because these are outdoor scenic pieces that live in  the harsh Outer Banks weather, they
are coated with glue before a final paint treatment.  To closely match White's drawings, I
based each hut a warm, buttery yellow. On top of that, I hudsoned umbers, black, and a
hint of a mustard yellow for warmth.  The drips under each layer of mat suggest age and
weather, as well as crate a sense of individual reeds from the house.  The final step in
each hut is set decoration.  Of course, some artistic liberty is taken, as White did  not
provide detailed drawings.  We combine a number of elements, from leather and burlap
braids, to eagle feathers, to Native American props to dress the huts in the village for a
harvest ceremony, suggested by playwright Paul Green at the top of the show.
Scene One, Act Two:  The Deserted Fort/Arrival
Here, Long has designed many elements added to the existing fort set to indicate that the fort has long since been abandoned.  Prop
barrels and crates litter the stage.  Some of these are naturally weather, having been in the show for decades.  Others are new construction
that I have painted myself to match the older props.  Long's final touch to this setting is the wreckage that covers the chapel and two
cabins.  Weathered boards covered in shredded burlap, dripping like Spanish moss, add a sense of foreboding to the existing set.  To create
old burlap, I soaked new fabric in the Roanoke Sound for one week.  This darkened the color, opened the weave, and stretched it
irregularly to create that Spanish moss feel.
Act Two:  Queen's Chamber
Long has faithfully created Queen Elizabeth I's inner chamber in this massive booking unit.  Panelled walls, gold leafed moldings, etc., set
the scene for this intense, pivotal moment in the Colony's fate.  Here, my work  may be seen in the gold leafing of the
throne, moldings, globe and crest.  
Although the "Plymouth Walls" have been retired from the
show, they are currently on display at the NC Museum of
History.  I repainted them to bring them back to life for the
exhibit, using a combination of brush, roller, and hudson
techniques. There are even "urine" stains at ground level
from unruly sailors.  After a closer look, one can tell that
they are basic flat construction.  The stucco areas are
covered in a mixture of paint and kitty litter, while the
stone is carved foam with a fiberglass coating.
This is the new Plymouth scenery, designed by William Ivey
Long, that replaced the previous walls (left).  Although I did
not do the original scenic artwork on these pieces, I have
been in charge of maintenance for the past four years and
much of my work may be seen.   
Greenery Flat Examples
These flats cover the existing permanent fort set.  There are over twenty different greenery flats used to mask the Tudor
buildings.  Originally black with artificial greenery, I altered the scheme with blues, leaf stamps of flora indigenous to
Roanoke Island, camouflage netting for texture, and finally artificial greenery used to catch the light during night
performances and add depth and thickness to the flats.  
Plymouth Vendor Carts
William Ivey Long's design for the Port of Plymouth includes several vendor carts; Vegetable Cart, Basket Cart, Tool Cart, Fish Cart, etc.  As
Prop Master I was in charge of researching and collecting period wares for each cart.  It was also my job display these in a appealing
manor, without making each cart seemed contrived.  The above are samples of my work, and how they are presented in nightly
performance of
The Lost Colony.