Taylor is a scenic designer originally from Las Vegas, Nevada.
Growing up in the spectacle and theatricality of Sin City instilled in Taylor an adoration for scenically rich environments, as well as a constant craving for storytelling. She is interested in interrogating femininity and the human condition through our relationship to horror cinema and the experience of growing up in the anonymity of online spaces. The deeply personal nature of the design process is something Taylor holds close to her heart, as she strives to offer a piece of her soul to each project, creating a collage of the self throughout her work.
Outside of scenic design, Taylor loves photography, her little gray cat Alvin, and is looking forward to starting an herb and flower garden.
This Alice in Wonderland opera adapts the childhood classic with a score that submerges Alice in mechanical instrumentation and atonal atmospheres. With an Alice that felt so un-Disneyfied, I wanted to explore the story with the background of its original author, Lewis Carroll, in mind. Carroll dreaded having an appetite, as he felt that it was a monstrous thing, ultimately related to female sexuality. He would quell this dread through controlling food consumption and appetite. I want to explore this wretched and anxious side of Carroll’s psyche in my design by paralleling it with a world that bursts with sexual fluidity and carnal feminine appetite. We start Alice’s journey inside a vast and damp pool-like underbelly, tiles slick with aging water and grime. As we follow Alice down the rabbit hole, the stiff cistern allows for a more feminine, sensual, and gluttonous Wonderland to unfold within its confines.
Unsuk Chin
Unsuk Chin and David Henry Hwang
Lewis Carroll
The Hudson Theater
Acis and Galatea is a pastoral opera depicting the myth of the nymph Galatea falling in love with a shepherd who, after an elegiac tonal shift, is viciously murdered by the jealous beast Polyphemus. The blissful ignorance and naivety of the two lovers, along with the pastoral tone, brought the design to take place in two nostalgic loci amoenus, or pleasant places that recall safety and comfort. The adult singers embrace the fantasy of attending Galatea’s birthday party in places meant to evoke childhood nostalgia and the yearning of returning to a simpler time. We start in the most pleasant plains of a suburban backyard birthday party, and after Act Two’s ominous tonal shift, the revelers move into the milder and more surreal Chuck-E-Cheese-esque private party room as the nostalgic dream begins to sober up.
George Frideric Handel
John Gay
Abrons Arts Center