Author: Ellie Richards

The day of the production started with measuring up the angel to make sure we suspended it at the right height in relation to the steps and the upper curtain height, as seen below.

 

 

Then, with the help of the tech team, we weighted the wooden angels in position, and made sure that the lights were set up to highlight the painting strokes and colours.

 

 

We also specified how the backlight should work, standing in the space to see make sure that it would create the desired long shadow effect.

The setting up process for the production ran relatively smoothly, which was due in part to the thorough technical and planning documentation completed by the production team, and by our long term planning and completion of the technical elements. We had decided, for example, to maintain the original set ideas as much as possible, and the changes that were made were, in my opinion, a reflection that we needed to simplify the design, whilst keeping the spectacle which we initially wanted to achieve. We were forced to emit the fabric drapes as we overran in our production schedule, but on reflection I think that this would have made to stage image too cluttered.

I also feel that the contrast between the downstage aspects of the stage, and the upstage images were perhaps too strong, as in relation to the audience size and positioning, this may have been too ambitious, considering that sightlines may have been restricted at some moments. The right hand side of the audience, for example, may have found it difficult to see the bedroom scenes. However, I also think that, as we did have this opposition of settings and styles, there was always a part of the stage which every part of the audience could see. I was particularly pleased by the way that the set pieces framed and filled the stage space, which, in my opinion, were the correct size and created the desired effect of forming an impressive and well executed set image.

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To create the angel stencil, I have cropped and adapted an image which I have previously researched, and which can be seen in its entirety in my blog entry ‘Developing Set Ideas’. This image really struck me as impressive and haunting, particularly as the weeping angel symbol suggests a darkness and twist to the idea of innocence. It is arguably in itself a collision of fairytale and gothic identity. This is also consistent with my supporting role as an actor within the production, as I stand as a weeping angel to mirror the stencil design.

 

 

These photographs show the process of creating the angel stencil. After scaling the image to fit precisely within the fabric, I carefully sketched out the image and cut out the appropriate sections. I then stippled white acrylic paint onto the gaps, being careful to leave a crisp painted edge. This has taken me several days to complete, and I feel that the finished result is as strong and symbolic and I had envisaged.

 

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The photographs above were taken on the first and main day of set construction, chartering the process of applying the angel image to the wood, and developing the wood into pieces of usable set.

As can be seen from my development of painting the angels below, the main challenge was making sure that both angels looked as identical as possible, and this has taken longer than I have expected. However, I am very pleased with the final result, and I am also pleased that I have completed this early on in the production process, so that I can focus on making the fabric angel to an equally high standard.

 

 

 

 

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I have now reached the stage where I have collaborated, developed and eliminated ideas from my previous set design concepts, to create the final set design which we will use as the official guide for set and props positioning in the production of ‘A Gothic Tale’.

The final set includes a well-rounded and coherent expression of what our production is trying to convey. For example, drawing from the theme of a collision of two worlds, fairytale and dark gothic, I have decided to finalise my plans for constructing the wooden angels, which I will begin shortly, and finalise the fabric angel design. I decided, together with the production manager, to eliminate the use of the back cyclorama, as this was unnecessary, and move the fabric angel upstage centre, to create the most appealing composition possible. I have also been highly influenced by Edward Gordon Craig, with the use of tall vertical shapes and steps.

We plan to lift the fabric angel up to reveal the bloody chamber, of which the actors can either exit or enter through the back, or from the sides of the stage. Through this gap we will shine a strong beam of light, to add to the reveal and mystery of the chamber. The original positions of the bed DSR and the piano room DSL are to stay, particularly as this is a requirement from the script and the director and it is my job as Chief Designer to work with these specifications.

We concluded that the best method for suspending the fabric angel would be a pulley hoisting system, which will lift the angel to leave a gap of about 6ft, enough to walk up and through. I will need to purchase 7m of fabric to leave enough lift and drop room for the hanging.

 

 

 

I completed this Google SketchUp diagram as a virtual model of how the final stage will look and to give a clearer portrayal of how the set pieces will fit together in relation to the rest of the stage. This was certainly a helpful exercise when trying to establish the size of the bed and piano within the space. Our stage manager has managed to negotiate that we can have free wooden sheets to create the standing angels. This is excellent news, as not only does this mean that we can preserve our allocated set budget for other expenses, but I have an immediate resource which I can start work on as soon as possible.

I will also continue to be in consistent communication with the other members of the production team, as lighting plans will also be crucial to the success of the set design.

(Please click on the images to view larger versions)

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