Acis & Galatea: SPRING 2026 - Ithaca College
Directed By: BEN RoBINSON
SCENIC DESIGN By: Oliver Canales Greenwood
Nature is not passive in this story; it listens, responds, and reflects the internal lives of the characters. The forest, the water, the light—all become extensions of the human experience, mirroring moments of vulnerability, sacrifice, and ascension. What draws me to this world is its constant state of becoming. Nothing is fixed. Characters transform, relationships fracture and reform, and belief itself feels malleable.
This openness gave me permission as a designer to step away From literal representation and instead focus on evoking the emotional and thematic essence of the world. The written world suggests a space that breathes, shifts, and responds—one that allows transformation to be seen, felt, and heard.
SWEENEY TODD: Fall 2025 - Cornell University
Directed By: avery Wrobel
SCENIC DESIGN By: Oliver Canales Greenwood
my goal was to build a world that exists in constant conversation with the orchestra. The design grew out of collaboration—treating the music not just as accompaniment, but MORE as an architectural force that shapes the environment of the story.
The set aims to create a single, unified image where sound, space, and movement intertwine, allowing the orchestra and the stage picture to work together in driving the dark momentum of the piece.
Fever/Dream: Fall 2024 - The Hangar Theater
Directed By: Cynthia Henderson
Scenic Design By: Oliver Canales Greenwood
SWEENEY TODD: summer 2024 - Cunneen-Hackett Arts Center
Directed By: Micheal Kaplan
Lighting Design By: Oliver Canales Greenwood
As scenic designer for Fever Dream by Sheila Callaghan, I worked with the creative team to reinterpret the play’s surreal landscape as a politically charged parallel America.
Our design leaned into a heightened world that echoed the atmosphere of the Trump presidency, using visual symbolism to reflect the play’s themes of power, nationalism, and unraveling identity.
Opening the day before Election Day, the production aimed to engage the audience in reflection and conversation, embracing theatre as a vehicle for social awareness and change.
I worked closely with the director to shape a visual world that grows progressively darker as the story unfolds. The design tracks the moral descent of the characters, allowing the stage to become increasingly shadowed and oppressive over time. I leaned heavily into saturated color—particularly red and blues—to heighten moments of violence and revelation.
In key deaths, the lighting plunges the stage into darkness before flooding the space with red, briefly washing over the audience as well, evoking the shock and immediacy of bloodshed and drawing the audience directly into the world of the play.
THE LIAR: Spring 2024 - tHE Kitchen Theater Company
Directed By: Dean Robinson
Scenic & Lighting Design By: Oliver Canales Greenwood
The Liar, takes us on an emotional rollercoaster in which all these characters seem to be stuck on a merry-go-round of love. These characters struggle through mistakes, outrage, dismay, approval and most of all seeking the happiness they want.
The world of The Liar calls for constant movement through space. The characters in this story are always moving through a sea of emotions, strife, and chaos. my reward to chaos, is always a playground.
The set consistED of 3 unitized pieces made up of smaller luggage, trunks, and suitcases, which cOULD be assembled and disassembled in various formats to create new scenes and locations. There wERE also be 2 mobile street lamps, that can be moved around the space to configure new environments. I inviteD the comical chaos of the show to also reflect within the scenic elements as much as possible.