Bill, I have done ART and for the painting, I stretched heavy weight muslin over a homemade stretcher with corner blocks.(it was interesting both front and back!) I then textured the surface with a mixture of joint compound and white glue (Flex Glue, or Elmers which is cheaper than Flex.....this adds elasticity to the joint compound and it shouldn't crack off)...and I added a little paint. I all but troweled it on the surface and scraped three diagonal lines in to it. When it dried I painted it several times with a combination of colors(whatever I had left over from past shows) ending with an off white, slightly watered down, allowing bits of color to show through....then I sealed it with several coat of a clear acrylic (Rosco Clear Flat, or Dry Hard, or any "Faux Glaze"). We used a child's washable marker to draw the skier, and cleaned it off with a little dish washing liquid added to water in a squirt bottle. It worked well, and if any of the marker didn't completely clean off, it was so faint that the audience could never see...and I would used a little white shoe polish to cover up any remaining residue for the next performance. I think that the heavy texture and feeling of many layers of paint is very important to creating a "white" painting that credibly cost what the Antrios is supposed to have cost. We also did a clever thing with the set, which was all in varying shades of a warm gray. we had an upstage wall that had fine black lines dividing the surface into large rectangles.....these lines concealed the fact that the middle rectangle revolved...and it was on this panel( which was just a little larger than the art than hung there) that we kept changing out the paintings on the up stage side (from the 19th century landscape to the "motel" art), and revolving them on in view of the audience in order to go to the other locations.....everything else remained the same.

Thanks for your helpful response. I hope you enjoy the conference!

Mr. Munoz,

I will also be heading to SETC soon, and have had several friends work for Flat Rock and talk very highly of it. As such, I am interested in working there, but had several questions.

First, is there a specific apprenticeship program for directors as well as actors? Second, how much is the fee for the first year apprentices? Finally, is there a realistic possibility of an early career director being hired as a director at Flat Rock?