The Scenic Design Process

In the early stages of brainstorming, Jackie and I developed the idea of an inverted Greek theatre. When the ensemble members are not active in telling the story, they will gather and watch the action. Inner seating was conceived in order to give a variable neutral locations in a shared storytelling space.



As I developed the design, it needed to take on more of a character, a personality; it needed to be rooted to the land and community just like many of the characters. This approach to an inverted arena-like playing area is more representative of the culture: organic, bright, basic, and fruitful. The different levels of the platforms allow for various uses (ie. wide enough for musical numbers, safe enough to cross at quicker speeds, etc.) I also feel that the set piece is divided, yet one. Oddly enough, it is balanced.

In the largest upstage platform, there is a verticle slit in the fabric. This secret passageway will allow for little Timoune to switch out with Timoune during music and possible "time changing" effects (ex. a strobe light).



To have many platforms at increasing sizes, they can only build in increments of about 6". A normal stair rise is 8-9" tall, so these steps will be relatively small. However, it will also be easy to navigate quickly (dancing in a musical number, for example) on smaller risers.

The perpendicular lines stretching across the largest upstage center platform is representative of a grated wood surface. Only this platform will have slight (1/2"-1") gaps stretching from stage right to left. The purpose is so that we can shine a light up through the grate, illuminating a character standing on the platform. The effect should be no short of... awesome.

Note: the picture is missing a staircase leading down from the tallest upstage platform.



This is the first color draft of the Act 1 design aesthetic (color pencil). The platforms will be treated to look like natural, trampled-through paths in a, more or less, secret wilderness. The surroundings are thriving. Although we will not be continuing such a realistic interpretation of surrounding plant-life, there will be a mid-stage drop similar to the pictures of The Jungle Book (pictured below). The opening arch in the center of the drop represents the audiences opportunity to peer through and view these people and their story. It makes the story-telling space sacred.



This is the first color draft for the Act 2 aesthetic (watercolor). Let me start by saying that the orange and yellow colors painted here are representative of possible lighting options. Jackie and I spoke about the importance of a colorful set, juxtaposed against poor, shabby costumes, so I used bright colors just to see light on the set. The main purpose for hanging fabric from the front of platforms is to project light through them. The cyc, as always, is an amazing source of color, thus provoking of mood.

The blue strips of fabric will attach downleft at approx. 20' high. It is basically a shredded triangle that the actors can attach to the back of the platform. It will be beautiful to light through, as it will act as a ceiling to the Hotel Bozome. The tree, which appears to be painted on the upstage cyc, is not. It will be a gobo (the shadow of a cut-out/stensil of a tree); this tree will only appear near the end of the story, when a tree springs out of the Hotel.



Well, that has been my process! Tim and Jackie are very excited, as is evident through their unbelievable support. We have worked together to problem solve and expand on awesome new ideas. It's going to take a lot of work (thank you, Tim!), but I think it's needless to say... we are pumped for this show!