She Kills Monsters

by Qui Ngyuen

Following a car crash that kills her sister, Agnes Evans strives to learn more about her. This story follows Agnes as she grieves by doing something she never would have done in life — playing Dungeons and Dragons with her kid sister.

For this piece I was tasked with creating several monsters — a gelatinous cube, a fairy’s wings, an owlbear, and dressing kobolds for battle.

Production Team

Director: Michael Barakiva

Asst. Director: Jimmy Miesterich, Alex Pronevich, Emma Reifschneider

Production Manager: Catherine Doherty

Stage Manager: Sarah Foster

Costume Designer: Stella Katz

Lighting Designer: Conor Thiele

Scenic Designer: Dana Weintraub

Sound Designer: Nathalie Houle

Photographer: Grace Sgambettera

The puppet was held by four people, and swallowed and spit out characters live on stage.

The puppet was held by four people, and swallowed and spit out characters live on stage.

I knew I would be using a roll of latex as the base, so I got to work testing different glues, dyes, and paints. I settled on using Barge contact cement, RIT Proline Dye, and liquid latex mixed with acrylic paint.

I knew I would be using a roll of latex as the base, so I got to work testing different glues, dyes, and paints. I settled on using Barge contact cement, RIT Proline Dye, and liquid latex mixed with acrylic paint.

I cut the latex into panels so as to wrap the entirety of the frame, then dyed the panels this yellowy green. I then overlapped the panels, gluing them together to make one longer panel of the right height.

I cut the latex into panels so as to wrap the entirety of the frame, then dyed the panels this yellowy green. I then overlapped the panels, gluing them together to make one longer panel of the right height.

Shannon Dodson and Sandi McDonald from the scenic shop fabricated the frame of the cube from bungee cords and PVC pipe, and the frame to hold it upright while I skinned it.

Shannon Dodson and Sandi McDonald from the scenic shop fabricated the frame of the cube from bungee cords and PVC pipe, and the frame to hold it upright while I skinned it.

After wrapping the cube frame, and using contact cement to adhere it to the frame, I draped and cut other green stretch fabric to create a top to the cube.

After wrapping the cube frame, and using contact cement to adhere it to the frame, I draped and cut other green stretch fabric to create a top to the cube.

After adhering the fabric drips to the latex, I stuffed the back of the drips to give it more texture and volume.

After adhering the fabric drips to the latex, I stuffed the back of the drips to give it more texture and volume.

I added a train for length, and painted more drips on the latex with liquid latex mixed with acrylics.

I added a train for length, and painted more drips on the latex with liquid latex mixed with acrylics.

This cube was the largest thing I've built to date, and stoked my interest in making strange things from even stranger materials.

This cube was the largest thing I've built to date, and stoked my interest in making strange things from even stranger materials.

Here is a timelapse of me and costume designer Stella Katz wrapping the latex onto the cube frame. We used painters tape to line it up, and contact cement to secure it.

For this project I focused on the wings of this character.

For this project I focused on the wings of this character.

I built the frame from millinery wire and floral tape, and built two as mirrors of one another.

I built the frame from millinery wire and floral tape, and built two as mirrors of one another.

I wrapped the whole frame first in hug snug, then in silver ribbon, so as to pretty edges and make a base for the fabric to secure to.

I wrapped the whole frame first in hug snug, then in silver ribbon, so as to pretty edges and make a base for the fabric to secure to.

The straps were made from ribbon and sleeved in the fabric used for the rest of the costume.

The straps were made from ribbon and sleeved in the fabric used for the rest of the costume.

The fabric was draped and stitched to the frame, and made to look fairly spooky and tattered.

The fabric was draped and stitched to the frame, and made to look fairly spooky and tattered.

The wings closed in the front with snaps, and had slight flapping movement with the actor.

The wings closed in the front with snaps, and had slight flapping movement with the actor.

The owlbear was built off an existing bear costume in storage. I started by adding a beak around its nose.

The owlbear was built off an existing bear costume in storage. I started by adding a beak around its nose.

Then, I draped feathers over the face, and stitched that and the beak down. The beak is pleather with a bone in the center for structure.

Then, I draped feathers over the face, and stitched that and the beak down. The beak is pleather with a bone in the center for structure.

I also helped dress a couple kobolds in children's clothes, fake piercings, and the like.

I also helped dress a couple kobolds in children's clothes, fake piercings, and the like.

They were worn on the legs like shin guards, and had limbs that were magnetized so as to be cut off in the heat of battle.

They were worn on the legs like shin guards, and had limbs that were magnetized so as to be cut off in the heat of battle.