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.
The Turn of the Screw is a chamber opera adapted from Henry James’ 1898 gothic horror novella of the same name, telling the story of a naive young governess tasked with taking care of two children corrupted by a ghoulish evil. While the original tale is set in the countryside of Victorian England, this design for The Turn of the Screw pulls from folk horror, a subgenre utilizing a connection to the land to echo thoughts, fears, and beliefs of the past. I rooted this design in an American agricultural environment; the shadowy memory of a manor looming over amber waves of grain, a claustrophobic landscape allowing you to see everything. The rooms of Bly Manor burgeon up from the wheat as if buried memories are unearthing themselves. The characters live in a facade of innocence, threatened by the ghosts of the past that walk the grounds.
Project #892 is one story within two spaces that adapts the real-life opening night controversy of Marc Blitzstein’s The Cradle Will Rock into the fictional Carlotta Vance Theater on the opening night of a sardonic pageant of American history threatened with being shut down. We watch the story from onstage, offstage, and interstitial spaces rooted in constructivist theatre designs and labor movements of the 1930’s.
Project #892 was co-designed with Josh Oberlander.
Goldie E. Patrick / Laurence Maslon
Goldie E. Patrick / Laurence Maslon
Taylor Friel & Josh Oberlander
Sienna Zöe Allen & Amanda Roberge
Kristen Paige / Natasha Marie Rotondaro
NYU Tisch Grad Acting/Design
Walker Theatre / Shubert Theatre
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 and David Henry Hwang
The Hudson Theater
Queens takes place in fragments of memories between 2001 and 2017 in an illegal basement apartment in Ridgewood, Queens. The play follows a handful of immigrant women seeking refuge from violent circumstances by finding community in a subterranean living space. The basement is cramped and claustrophobic with nearly seven foot ceilings, and cables and wires dangling haphazardly about. Memories fill the room and eventually tear at the basement walls themselves, consuming the basement in negative space.
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
Abrons Arts Center