Environments for stage or screen often depict integrated sculpture in their design: carved bas-relief, friezes, keystones, cornices, columns, capitals, and other decorative components to help tell the story at hand. When a particular production requires this three-dimensional, sculpted detail we often utilize thermoformed/vacuum-formed plastics, or expanded polystyrene to achieve the desired look for these elements. A number of plastics can be thermoformed including Acrylic (PMMA) Polycarbonate (PC) Polyethylene (PE), to name a few. But with plastic pollution being such an urgent global crisis, how can we as practitioners mitigate the adverse effects our productions have on the environment? Perhaps the answer lies in the familiar, but unexpected materials already in our toolkit.
Contemporary practice has been influenced by decades of various techniques and approaches to construction of scenic elements. These techniques have been shared, published, innovated, and derived from various circumstances, historic movements, and styles of theater production. As we know, live and recorded production for stage and screen is often temporary by nature. For live theater, they exist in time and space. For productions not in repertory or on tour, the physical production elements are often discarded after closing. These production elements, like many forms of construction utilizing materiality that does not exist in nature (i.e. synthetic products, plastics, foams, and finishes) largely end up in landfills. The fleeting conditions of theater have often led me to ponder the contemporary practitioner of stagecraft’s role in introducing or reducing harmful materials into the environment.
The Plastics
A number of plastics can be thermoformed including Acrylic (PMMA) Polycarbonate (PC) Polyethylene (PE) Polyethylene terephthalate glycol (PETG) polypropylene (PP) Polystyrene, to name a few. These are often used in theatrical production to produce the aforementioned illusion of relief, additive, subtractive, and casted sculpture. Plastic pollution is a widely known, documented, tested, and urgent global crisis, with tiny pieces of microplastic permeating the water, food, and air we need to survive. It is present now in our soil, and even inside of our bodies; approximately the weight of a credit card weekly [1].
Polystyrene is a transparent and rigid plastic often used for packaging, but is also made into foams: expanded polystyrene (EPS) or extruded polystyrene (XPS) characterized by how they are produced and their properties; they are predominantly used for insulation. In the context of theatrical production and stage craft, the latter is often used for carved detail as it can be laminated, carved, sanded and coated for protection. At a base level, XPS is manufactured with chlorofluorocarbons (CFCs) which break down our protective ozone layer that shields the earth’s surface from damaging UV rays. When the foam is broken, carved, cut or heated it releases CFCs into the air. EPS and XPS are not biodegradable, and small particles induce a variety of toxic effects similar if not the same as microplastics in humans, animals, and marine life. This particularly poses a hazard for sculptors, carpenters, and other production staff in film and live entertainment. It is proven that exposure to microplastics induces a variety of adverse effects, including oxidative stress, metabolic disorder, immune response, neurotoxicity, reproductive and developmental toxicity [2].
Keeping it Simple
With this in mind, when it came to a production of Into The Woods presented in March of 2024 at The Pingry School in Basking Ridge New Jersey, the design called for a series of ornamental friezes featured within the set. Detailed scrolling, leaves, and filigree filled each of the eight sculptures. The first instinct would be to vacuum form the pieces, but this presented an opportunity to identify and test an alternative solution to plastic as part of our ongoing research. In addition to being something biodegradable and eco-friendly, the materiality and approach to creating these sculptures had to also satisfy criteria for feasibility: cost-effectiveness, labor-intensiveness, and time. Remarking on songwriting, Stephen Sondhiem was quoted saying “simple is hard, complexity is easy.” Although this was a less traditional production of one of his classics, the great composer and lyricist offered some perspective as he always does. What we were testing should be simple enough that other makers practicing in this or adjacent spaces would be attracted to it over the allure of plastic.
Pingry’s campus is equipped with a host of contemporary tools like 3-D printers, CNC (computer numerical control) routers, and computer-aided design technology that in some respects could offer other solutions as they have for my personal practice in the past, but would require substantial time, post-processing, and in our case ultimately influence the design and cost. Even with considering eco-friendly 3D-printing filaments (of which their biodegradability is questionable even under specific circumstances, and will require their own study), the time, fume mitigation, electricity and cost it would take to print the size, volume and quantity of these sculptures dismissed it as a realistic option immediately. CNC routing of a “greener” material was also weighed as an option, but it was determined that the sheer amount of material waste for this subtractive method was disqualifying in a study of sustainable alternatives to conventional materiality. The thickness of lumber, MDF or other fiberboard required to achieve all of the undulated surfaces and undercuts via cnc-routing panels would more than quadruple the cost and be far too heavy, further removing it as an appropriate alternative to plastic in this scenario.
Pulp molding, while theoretically well-suited for this application (undercuts in the design notwithstanding) was deemed too costly an alternative for the scale of the panels, and at a baseline less likely to be adopted as a realistic method by most secondary and higher education institutions presently. To shop out the pulp molding would include costs covering the mold creation, material, production tooling, pricing per unit, and shipping. We were able to design the custom mold required for pulp molding based on a digital model of the design, but felt the infrastructure needed to produce the panels in-house did not fit the criteria for feasibility. Specifically for an element so unique to a single production, the process had to be more simple. If the fundamental goal of this work is to create a form without plastic, perhaps the answer was hidden within the etymology of the term itself? “Plast” comes from the Greek plastós, meaning “formed and molded” leading us to plaster molding and finally its old companion latex as organic material to contemplate.
Latex is widely used in the entertainment industry for a number of purposes: makeup effects, prosthetics, masks, animatronics, and costume elements. It’s also used in mass produced commercial products like tires and a frothed, foam version in mattresses. Natural latex is harvested from the rubber tree (Hevea brasiliensis) by removing a section of its bark, and collecting its sap. It’s important to note that there are products comprised of natural and synthetic latex blends. Synthetic latex created from petroleum, and is not biodegradable. Natural latex is biodegradable, and is perfect for casting an array of forms. The process for casting latex can also utilize materials that are biodegradable and found in nature. They can be recycled, reused or returned to natural systems without depletion, and became the perfect test subject for our applied research.
Based on the production’s technical drawings, research assistants (Kain Wang ’24, Olivia Li ’27, Fiona Rovito ’27, Lulu Brennan ’27, and Precious Anyanwu ‘26) sculpted the desired frieze out of WED clay. Originally developed for use in sculpting Disney’s animatronics models, WED (Walter E. Disney) clay is a water based, non-toxic and environmentally friendly clay. It is used by industry professionals to create masks, models, mockups, and larger sculptures, and can be reused if dampened and stored in air-tight conditions. The sculpture took less than 2 of a 3 hour work call to complete.
Next, using plaster, we coated the sculpture, and reinforced it with hemp for strength. Although the process of gypsum mining is not eco-friendly, plaster can be used as a compost to bring back depleted soils and create richer, more nutrient-full compost after the mold is retired. We carefully but quickly applied the plaster, making sure to coat all of the detail to a depth of at least 2 inches. After the slip mold fully cured it was flipped and the clay easily removed, we now had a negative mold to cast multiple friezes. Tip: If you are unfamiliar with plaster, it is important to note that it should never end up in your fabrication shop’s paint sink or plumbing. Keep a bucket of water on hand (a 3 gallon bucket will suffice) for hand and tool washing and allow any extra plaster to dry out before disposing. While the mold itself could have been more refined, coating the sculpture took less than 45 minutes, and it was able to cure overnight.
When the mold was cured, we painted in layers of latex. Applying the latex in multiple layers as opposed to pouring it keeps the overall piece from shrinking during the drying process. The plaster mold wicks the moisture through its pores out of the latex. This was repeated, and with proper air circulation – including small fans – we averaged two-three pulls of the panel daily without vulcanization. The more layers painted in, the thicker the pull would be, with ⅛” thickness being more than enough for this application. It’s important to note any latex allergies prior to beginning this process, as any allergic technicians or artisans can have reactions ranging from mild symptoms to severe upon direct contact or inhalation. If performers interact with the piece, it’s best to clear any allergies before use as you would latex prosthetics, masks, or costume pieces.
The latex panels were then coated in a latex paint base; interior, low sheen, flat/matte with a flame retardant additive. We found that it did not require a bonding agent for our application, and was left to dry. If the cast piece must allow for contact or manipulation, it is best to mix the desired latex paint with equal parts of the casting latex and distilled water (1:1:1). Distilled water is important for this step, as the minerals in tap water affect the texture and viscosity of the latex causing it to harden. They were finished with a simple glazing, rub-out “antique” treatment in diluted scenic paint, followed by dry-brushed tint highlights.
With the desired look achieved, the panels were tested under both conventional and LED lighting without any adverse effects; the final product made its debut in front of audiences. Taking all aspects into account, this approach satisfied the threshold of our environmentally-safer expectations, as well as feasibility. In addition to the limited facilities requirements, the amount of low-cost, natural materials needed makes it an economical, accessible and overall greener alternative to plastic, which was the main focus of the study. Although the materials themselves each met the aforementioned thresholds, their production did not always prove satisfactory. For example, gypsum mining was a particular point of concern, and while that step of the process begins months if not years before a production or project is even slated, it is a major factor in the many choices we make, and the dependencies we have on various products.
Based on the available evidence and from a personal perspective, I am more comfortable with the action of spec’ing something like plaster than I am plastic because I feel that the major problems with gypsum mining (like rubber tree harvesting) are realistically solvable long-term or more appropriately offsetable vs the overall, lasting harms of plastic. While it is certainly not always possible to take an alternative approach to specific facets of physical production, when there is room for experimentation or adaptive use of materials that luxury should be exploited to the advantage of sustainability. Both latex casting and slip-molding are not techniques new to the industry, but what is interesting about this study is the application of existing techniques to solve a creative problem. If the idea of sustainability is a culmination of many smaller actions to create change, that does not necessarily always involve “reinventing the wheel”. This notion challenges us to consider what eco-friendly practices in our toolset we can adapt to mitigate, offset, or replace the harmful ones.
Joseph Napolitano
(He, Him)
Head of Technical Theater and Design
The Pingry School
Joseph Napolitano (He, Him) is a professional designer, and Head of Technical Theater and Design at the Pingry School, where he develops and teaches cutting edge courses in design thinking, UX design, and theatrical design & technology. He leads the award-winning program, and is engaged with his students in the research of sustainable design methodology. He maintains a practice of symbiotic academic and professional work, developing innovative human-centered pedagogy for contemporary students while bringing real-world experience to the classroom. His portfolio spans live performance, interdisciplinary architectural and experience design with collaborators ranging from regional institutions to global organizations like Google.
His work with the Broadway League & ad hoc committee the Broadway Green Alliance spans multiple initiatives including the Bway Bike Program in Time Square, creative reuse/recycling programming on Broadway, and sustainable approaches to physical production in live theater, film and television. He was recently honored by the Paper Mill Playhouse as an outstanding educator, and his work has been recognized by the Society for College and University Planning (SCUP), The American Society of Landscape Architects, and the Kennedy Center American College Theater Festival. Joseph is a member of the United States Institute of Theater Technology, and taught previously in higher and secondary education before arriving at Pingry.
[1] de Wit, Wijnand, Bigaud, Nathan et al. “No Plastic in Nature: Assessing Plastic Ingestion from Nature to People.” World Wide Fund For Nature, 2019, 7.
[2] Lee, Yongjin et al. “Health Effects of Microplastic Exposures: Current Issues and Perspectives in South Korea.” Yonsei medical journal vol. 64,5 (2023): 301-308.
