Chyna L. Mayer (she/they) is a scenic designer originally from Broken Arrow, Oklahoma. They graduated from Indiana University, Bloomington with a master’s in scenic design, and received their undergraduate degree in theatre from the University of Arkansas. They just spent a summer as the resident scenic artist and designer at the Ohio Light Opera, designing Me and My Girl and The Count of Luxembourg for their 2024 summer season. Though Chyna spends most of their time designing productions for companies around the Midwest, they have scenic charge artist credits for many shows, and love wielding a paintbrush whenever they can. This year, Chyna is relocating to the Houston, Texas area, and would love to start networking with theatre professionals around the state! They pride themselves on their design work, but also have a passion for education, and are hoping to continue to inspire and teach the designers and artists of tomorrow. 

Tell us a bit about yourself! As live entertainment technicians, we always talk about our work. But who are you, outside of your work in live entertainment?

Outside of my work in live entertainment, I love to travel, learn new crafts and skills, and most of all, spend time with my loving family.

What sparked your interest in scenic design? How did you get where you are today?

My first exposure to scenery came as a child when I helped paint shows I was cast in at Tulsa’s Spotlight Children’s Theatre. During my undergraduate training at the University of Arkansas, I was able to see all that a scenic designer could do. Inspired by the professionals around me, I decided that this was the role for me!

USITT emphasizes collaboration across different disciplines in theatre. How do you collaborate with other members of a production team, such as designers, actors, and directors, to achieve a cohesive production? 

Early and saturated discussions with a variety of members of a production team ensure that each element of the show can thrive and grow independently and still beautifully merge together during tech week. I collaborate with the team by maintaining consistent communication throughout my process, checking in with how the scenic elements can elevate other parts of the project. Staying flexible and imaginative is very important.

Do you have a favorite project you’d like to tell us about? Or an onstage “wow” moment that you helped conceptualize?

My favorite project at the moment is The Count of Luxembourg for the Ohio Light Opera’s 2024 Summer season. The show goes from Act II to Act III with no intermission, but the location changes from a ballroom to a hotel lobby. The director and technical director put their faith in my ideas and made it a beautiful success. Act II is made of two large marble arch units which are joined by three additional units for Act III, making a quick but grand transformation behind the main curtain.

The rending process can look so different for designers. Are there any rendering products, software, or styles you prefer?

I use different rendering techniques depending on the demands of the show at hand, both from a storytelling and physical perspective. For a show like The Count of Luxembourg, I rendered mostly by hand and then used Procreate to digitize the drawing for easy editing and communication with the team. This allowed me to have the organic style of a hand drawing for the romantic light opera while also maintaining a tight turnaround for revisions. For Me & My Girl, also at OLO this summer, I started with a digital drawing and then moved forward by building each scenic element and the venue in Sketchup. I used Keyframe Animation and Thea Render, both Sketchup add-ons, to produce a previsualization video to show the team exactly how each scene and transition would progress.

What is your favorite part of the design process?

My favorite part of the design process is seeing all the various elements come together in tech. The changes made during this time bring the show together and create a beautifully unified experience. I especially love getting to see what my collaborators have been working on since our meetings began.

What do you consider the most rewarding aspect of being a scenic designer? Conversely, what are some of the biggest challenges you face in this role? 

The most rewarding aspect of being a scenic designer is seeing the performers bring the stage to life. A successful set is one that compels visual interest but most importantly serves as a fitting playing space for the performers inhabiting it for those few hours each night. The biggest challenge, but one I find most exciting, is balancing the compromises. Being an advocate for the design means fighting for the elements that are essential to the storytelling and the cohesion of the team’s vision while also staying realistic about physical and monetary limitations. It is certainly an exercise in imagination, but one that I welcome, and one that keeps me coming back for more.

I know you have a passion for education. What does being an arts educator mean to you? How do you encourage students to dive into the world of design?

Being an arts educator means instilling in students the same spirit of beliefs that were instilled in me by the wonderful educators who inspired me for years. I have been extremely lucky to have been gifted nuggets of wisdom by countless talented theatre professionals, and I consider it my privilege and duty to pass that knowledge and inspiration on. In order to encourage students, I believe the first step is ensuring accessibility, to the best of my ability. I am strongly of the opinion that anyone can be an artist, they only need to train. Visual art did not come easy to me, but I loved it, so I spent years practicing, and I continue to work to improve my abilities.

USITT offers numerous resources and opportunities for professional development. Can you share how being a member has benefited your career and artistic growth? 

USITT 2024 was my first time getting to go to the conference. It was a wonderful experience. I got to see old friends and mentors and make fruitful new connections. I am very grateful, especially for the sessions I got to attend.

Are you working on any projects right now that you’re excited about?

At the moment, I am closing out the summer season at the Ohio Light Opera, and I am in the process of relocating to Houston. I hope to get involved with local projects in the coming months.