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The responsibility of the set designer is not only to make
sure that the set looks right but that it also works well for the
director, the cast and the stage crew, as well as the audience.
The set has to be practical. Designs can be full of innovation
and adventure, but how much of that original vision, especially
in small recreation halls etc., does eventually take shape on
the stage? Set design has to
be finely balanced if the set
designer is to retain his most
valued asset - space.
First read the script,
know it inside out, gather
information with reference
to the period and style,
formulate your plans, create
a stage plan and agree this
with the Director. Think of
the piece as a whole, think
like the Director and the
Choreographer and create a
set that will work, Think of
ways to achieve this: trucks,
revolves, rostra, special effects, projections, lighting etc.
Scenery requires a degree of choreography. Each movement
of scenery, either on or off the stage, has to be managed so
that the pace of the production is maintained throughout. Sadly
some amateur productions are ruined by the amount of time
taken to change the sets or the introduction of black drapes.
Productions can be staged
in the round, on a thrust stage,
or within a conventional
proscenium arch. Fortunately
at Mossley we can, because of
the flexibility of our seating,
do all three.
The George Lawton
Centre, like most multi-
purpose halls is lacking in
stage facilities. There is little
wing space, no fly height, the
stage may need extending
and load bearing structural
aspects have to be considered.
Running tracks may require
repositioning or others hired. These all influence the mode of
presentation.
CATS, like every production, presented new challenges,
especially when stringent budgets have to be rigorously kept to.
The production, with input from the Director / Choreographer,
was discussed and agreed to be staged with a thrust stage. This
allowed the orchestra to be positioned on the stage behind the
set. It sounds easy until you work out the dimensions for a
fourteen piece orchestra.
With this in mind, the set was positioned just behind the
proscenium arch allowing maximum space for the Orchestra.
This created better sight lines and perspective, points which
always require serious consideration.
I found “CATS” an interesting subject. The set, I decided,
needed to be flexible and be a choreographer’s dream with
many entrances for all the different cats. I obtained this by
incorporating, into the design, flats with illuminating cats eyes,
a star cloth, rostra at different heights, sewage pipe, dog kennel,
dumpster, trap doors, hydraulic lift for Grizabella’s exit and
many items you may find on a rubbish dump in order to create
the final picture. In addition
to this a train is required to
be assembled by the cast and
disappear without trace in
seconds. This was achieved
by using a twelve foot piece
of flexible tubing 3 feet in
diameter and incorporating
independently 6 wheels, all
with LED lighting, a cabin,
boiler front with buffers,
funnel and connecting rods.
The effect was astonishing
and gave me a great deal of
satisfaction. Many thanks to
the cast and choreographer
for making it all work
When all the design points have been considered and other
members of the production team are aware of design obstacles,
preliminary sketches or plans can be made and a scale model
produced. You are now ready to oversee the building of the set.
Regular production meetings are a necessity in case any
aspect of the design requires
altering during rehearsals.
These meetings allow input
from the stage manager,
lighting, costume and props
teams, and ensure that
everyone understands the
style, interpretation and
colour of the production.
Consideration
was
also
given to the positioning of
pyrotechnics to cover all the
safety aspects.
Other factors to consider
are as follows:
Availability when can set-up
start? What other activities precede and follow the production?
Remember in your design, audience sight lines may possibly
restrict the number of seats. This in turn may affect income
from the box office and consequently, the production budget.
Safety is top priority. Accidents can easily occur, be it
on or off the stage. So don’t cut corners, be aware of safety
regulations and don’t create hazards.
A good reference for all aspects of safety, other than
common sense, is “The Technical Standards” book for places
of entertainment.
A special thank you to the Production team and the cast of
“CATS” for making it all work.
John Buckley,
Technical and scenic designer Mossley A.O.D.S.
The Set Designer
Mossley A.O.D.S. Production of “CATS”