Bad Bunny's Super Bowl stage creates "surreal journey" through Puerto Rico

www.dezeen.com: The celebratory, symbolic set design for Bad Bunny's Super Bowl halftime show allowed the artist to "make his comments in a way that felt elegant," according to its creative director Harriet Cuddeford. Puerto Rican artist Bad Bunny, whose real name is Benito Antonio Martínez Ocasio, headlined the show during the 60th Super Bowl football game, which took place at Levi's Stadium in California on 8 February 2026.

Tim Hatley talks 'Back to the Future: The Musical'

roughdraftatlanta.com: Tim Hatley is no stranger to film-to-musical adaptations. The set and costume designer has worked extensively on productions on the West End and Broadway, including shows like “Shrek the Musical” and “The Bodyguard,” an adaptation of the 1992 film of the same name. One of his more recent works is “Back to the Future: The Musical,” based on the iconic 1985 movie directed by Robert Zemeckis and written by Zemeckis and Bob Gale.

Lucille's dressing room in Being The Ricardos

Film and Furniture: “What people want to see in this movie is not what happened on the stage, but what happened backstage” says Production Designer Jon Hutman talking about his design work on Being the Ricardos.

Our Experiments: Upcycling in Theatre - An Interview with "Upcycling" Costume and Set Designer Reet Aus from Estonia

The Theatre Times: Reet Aus has spent her career in fashion and theatre committed to sustainability, where she’s learned from the world’s most efficient designer: nature. Everything began at the Von Krahl theatre in Estonia, after completing her MA studies in fashion in the early 2000s. Concerned by the wastefulness of the industry, Reet started to test new ways of working—making costumes by only using existing materials or sourcing materials from local recycling centers.

Travels of a Scenic Artist and Scholar – The Richmond Scottish Rite, October 24-26, 2020

Drypigment.net: It has been a busy month, and I am currently in Richmond, Virginia. The Richmond Scottish Rite Theatre appeared on my radar again last month. The timing was less than ideal, since I was packing to leave for the Tabor Opera House in Leadville, Colorado. On September 17, I received word from Art DeHoyos that the Richmond Scottish Rite was selling their building and had no plans for the historic scenery collection.

Travels of a Scenic Artist and Scholar. Day 6 at The Tabor Opera House. September 26, 2020.

Drypigment.net: Saturday was our last big day to lower scenery from the attic at the Tabor Opera House in Leadville, Colorado. It was the sixth of seven workdays in a row. We did manage to hit our goal of lowering all remaining shutter scenes, plus a few other pieces, to the stage floor. The attic looks positively bare. Only eight borders remain for me to document today. That being said, some scenic pieces still remain in the loft above the attic and on platforms high above stage right and stage left.

Travels of a Scenic Artist and Scholar. Day 2 at The Tabor Opera House. September 22, 2020.

Drypigment.net: There is a variety of historic scenery tucked away in the attic at the Tabor Opera House in Leadville, Colorado. When the building was renovated, the stage was enlarged, and all of the original wings and shutters were carefully tucked away above the auditorium ceiling. This attic space was also once home to a few hotel rooms, divided by a central sky hall that allowed natural light for each room.

Travels of a Scenic Artist and Scholar. Day 1 at The Tabor Opera House. September 21, 2020.

Drypigment.net: Today was my first day on site at the Tabor Opera House. I am in town to document the historic scenery collections in the attic; last spring I documented the scenery collections on the stage. This is such a very important collection, in both in the scope of American theatre history and world theatre history.

Behind the scenes of TV's wealthiest characters: Succession, Billions, Big Little Lies

Business Insider: From the hedge funders of "Billions" to the media moguls of "Succession," the TV anchors of "The Morning Show" to the murderous California clique in "Big Little Lies," a slew of recent shows offers a glimpse into the lives and homes of the uber-rich.

Each of those series has its own aesthetic, but there's a consistency between them, too — call it the New Rich Look. But what does that mean, and how do you create it? We talked to the three people who should know: the set decorators and designers whose creative drive shaped the look and feel of all those shows.

Netflix’s "Floor Is Lava" Has The Hottest Set Design

www.housebeautiful.com: Netflix’s latest hit show, Floor Is Lava, is not only fun to watch because of its likeness to the 90s game shows that we grew up watching, but also because of the amazing set design. Riffing off of the game we all played as kids, Floor Is Lava takes place in various rooms throughout the house, including the basement, the kitchen, a bedroom, the study, and even the planetarium. To learn how these crazy hot rooms came to fruition, House Beautiful spoke to art coordinator Alison Gondek and production designers Bruce Ryan and Bill Horbury—and we can’t guarantee that no furniture was harmed in the making of this show.

Interview with Eduardo Valverde, Lighting & Stage designer of Love The 90’s

LightSoundJournal.com: The youth of our interviewee is in stark contradiction to his extensive experience. Since he began working in the lighting industry, he has performed a great many tasks, from operator to becoming a Lighting and Stage Designer. At present, he is LD and Stage Designer of Love the 90’s, one of the most outstanding shows in Spain.

Two Different Stories, Two Different Sets in Sweet Land

LiveDesignOnline: Worlds converge and stories diverge in The Industry’s recent opera, Sweet Land, where audience members were separated into different story tracks across L.A. State Historic Park. Directed by Cannupa Hanska Luger and Yuval Sharon, Sweet Land featured a diverse creative team, including scenic designers Tanya Orellana and Carlo Maghirang, projection designer Hana S. Kim, lighting designer Jeanette Oi-Suk Yew, and sound designer Jody Elff.

Re-creating ’90s Suburbia for Little Fires Everywhere

Architectural Digest: For Little Fires Everywhere author Celeste Ng, visiting the set of her novel turned Hulu series was a walk back in time. Production designer Jessica Kender gave the best-selling writer a tour of the sets she created in Los Angeles to stand in for tony Shaker Heights, Ohio, on the show, and was pleased that Ng recalled memories of her own teen years in the Cleveland suburb.

#93 Quarantine Happy Hour

in 1: the podcast: In times of need and uncertainty, we turn to our friends for comfort, so it only made sense that we gathered a slew of friends of the pod to come together for a Quarantine episode of the podcast. Joining Cory for a Friday night drink is Buist Bickley, Darron West, Caite Hevner, Beowulf Boritt, Jason Lyons, Jen Caprio, Jen Schriever, Jason Lyons and Bradley King. Everyone shared how they are coping with the new normal caused by Covid-19 and how it’s taking its toll on everyone’s personal and professional lives

From the arts front lines: Designer Sean Fanning on his need for 'human reminders that we’re in this together'

The San Diego Union-Tribune: Five years ago, I decided to freelance full time. I had just left my day job of seven years assisting designers at the Old Globe while moonlighting as a scenic designer, and now it was time to figure out how to be an artist working out of my own home. It was a risky dream of mine, but I was always a bit perplexed by the lack of structure and the discipline it would take to keep the projects moving. How does one create on demand?

Tales from a Scenic Artist and Scholar. Part 820 – Fire, 1912

Drypigment.net: From 1905 until Al Ringling’s passing in in 1916, Thomas G. Moses completed several designs for the Ringling Bros. grand circus spectacles. In 1912, Thomas G. Moses wrote, “Went to Sterling to catch Ringling to collect $1,200.00. As I went to the tent to find Al Ringling, I discovered everyone watching a fire – a stable at least four blocks away. A spark was blown towards the tent, the top of which is prepared with paraffin to make it waterproof. It soon ignited from the sparks and in less than thirty minutes the big tent was destroyed.

Tales from a Scenic Artist and Scholar. Part 819 – Scenic Art Sundries, 1912 to Now

Drypigment.net: In 1912, Thomas G. Moses wrote, “June 1st, Sosman agreed to pay me what I wanted, $5,200.00 per year besides my dividends, which will make my income not less than $6,500.00 – not quite as good as the New York venture, but I will be satisfied.” $6500 in 1912 is equivalent in purchasing power to about $171,920.31 in 2019. Of that number, $137,526.25 was Moses’ salary without his dividends.

#89 Jason Sherwood

in 1: the podcast: This week we are sitting down with Emmy Nominated Scenic Designer Jason Sherwood! Jason is nominated for the production design of ‘RENT Live’ and he gives us the full deep dive into his set for this groundbreaking production. From it’s development along side Michael Greif, to figuring out audience locations and camera blocking, to how to transition the story from place to place, Jason is giving us the inside scoop on all of it. He and Cory also touch on a whole host of topics including social media use, the keys to staying positive, Jason’s live music work with Sam Smith, Sara Bareilles and the Spice Girls, how he’s achieved so much before his 30th birthday, and much much more.

Jason Sherwood Set Design For Rent: Live

www.livedesignonline.com/theatre: Translating a Broadway musical for television is not always easy, especially a musical as groundbreaking as Rent in 1996 when it moved to the Nederlander Theatre from Off-Broadway. But directors Michael Grief and Alex Rudzinski and the designers of Rent: Live, broadcast on Sunday, January 27 on Fox, captured the essence of the musical and the gritty, industrial feel of New York City’s Lower East Side in the 90s and the AIDS era.

Inside the scenic design of ABC's Election Headquarters

NewscastStudio: At just over 5,000 square feet, the election headquarters of ABC News combines the latest in display and augmented technology to showcase the scale and impact of the 2018 midterms.