d i n a n e . n e t 

I’m doing the scenic design for my local community theatre’s next production. It’s pretty fun, actually, working out the logistics.

Or at least that’s what I thought.

Until I realized just how small the stage really is.

I don’t know why I thought I could fit four flats across the front of the stage. I was just in a show on that stage, and we clearly only had three flats across and barely a foot of room along each side. It was cramped and dark back there, and I really didn’t have an option to go someplace else, as I was constantly entering and exiting from stage right.

Oh, I didn’t mention, there is no door to “back stage” from stage right. Only from stage left. And the door is less than 5 feet tall, I kid you not. And it goes down a rather steep flight of stairs.

Have I ever mentioned that I have nightmares about short doors that I can’t get through that go down into basements? No? Well… I have recurring nightmares about short doors that I can’t get through that go down into basements.

So I just stayed back stage.

But all that means is I’m a forgetful idiot. I should have known it would fit the way the director thought. But it wasn’t until a month into rehearsals that I realized I could not fit a semi-symmetrical set on that stage. And I refuse to go full-on symmetrical because it will always look wrong.

I had an easy time convincing the director and producer about my overall vision. Slightly off-grey (in two different tints) textured walls, to look kind of plastery, with dark brown trim and square windows to allude to a Tudor cottage feel. White lattice shutters and fences. All around, a lovely feel.

The symmetrical thing, however, seemed to be a problem. The director had such a vivid picture in his head of perfect symmetry, that it was difficult to convince him otherwise. I’ve seen attempts at symmetry on a stage. Unless it is very perfect or purposely off-kilter, it looks… the best word I have is “wrong.” Sets need balance, not symmetry.

After an hour of discussion with the director, who really is a nice guy, we came to an agreement on a set that is partially symmetrical in feel, but at an angle, so not parallel or perpendicular to the stage, and with some off-tilt touches. It even has my favorite thing - exaggerated depth. It suited us both so well that we kept it. We both left that meeting excited, which I think is fabulous. Wanna see?