Blogable: Design of Every Day Things
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?
I like symmetrical sets. But that’s only becuase it allows for a symmetrical lighting design and that makes hang, focus and programming easy. Probably why I gave up lighting in favor of tech direction and let Paul be all artsy fartsy.
Symmetrical lighting design? Never!
Symmetrical sound design? Of course!
And that’s why symmetry makes you happy.