Design Meeting, November 4th

Some scenic notes taken Wed 4th, November.  Afternoon.  2-ish.

In terms of prop storage:

 

  1. Did I understand correctly that we could use laundry carts as trunks since they are equipped with wheels? [JZ: We discussed using one. I’m inclined to stay with the different varieties of trunks.]
  2. We looked at trunks in prop storage, and I will tag three of them for use in rehearsal:  two trunks with false bottoms to be painted white that can sit over the traps and one that is light cream in color, slightly more elaborate in terms of hardware and cannot be painted.  We have fittings to use these items over the central trapdoors in Wyatt. [JZ: We’ll only be able to place one trunk over the traps unless we pay for the construction of another mechanism.]
  3. I will also tag the white, slat back chair selected by John Zibell and John Iacovelli for use in rehearsal.
  4. There are numerous bottles in prop storage that could be used to contain the faeries.  One suggestion to represent them is to use natural materials in conjunction with LED lighting.  We have not yet secured LED lights for the faerie bottles.  We are looking, in particular, for LED lights that are movement activated, activated by manipulating the bottle.  See John Iacovelli for details.

In terms of projection surfaces:

  1. There is the possibility of using cage-like metal painted white: three sets of bars, each perhaps 4’x8′
  2. We have numerous flats and doors to use.  We also have 3-panel folding screens to delineate space.
  3. There is talk of using the stair unit(s) for play between the stage floor and the inner above.  Preferably, these stair units would receive some kind of treatment to eliminate the riser gap between treads, in order to make the surface more projection friendly.  Materials for this include muslin, lauan, or even foam core.  John Iacovelli would like to see plans for these stairs, if available.
  4. The production will need a 10′ or 12′ wide (more or less, whatever the largest available width is from the roll) by 20′ or 25′ long piece of muslin to be used for rehearsal.  This piece of muslin should have eye holes or some other regularly spaced means of being attached to structural members using dog clips or sash cord etc.
  5. The heavy sheeting from John Jasperse’s show was examined and is still under review.  The flame retardant properties make the material whiter and more opaque than desired.  Suggestions were made to still use it for its noisemaking capabilities, such as dragging the sheeting through a hole in the stage as though it were quicksand or merely disappearing. [JZ: I like the image of someone being pulled down the trap by the plastic and my immediate idea for using this image would be for Hermia to be sucked in right after the scene where she wakes from her nightmare. How we get it in and how long we use it for will be tricky as the noise level of walking on it will completely cover dialogue.
  6. It was determined that the rear projection screen from the main stage is too large to be installed in the inner above.  A projection screen made of muslin, however, would fit nicely and could be installed with enough room for actors to play in silhouette downstage of the screen.  Whether this is desirable has yet to be determined, but it is an option.

 

In terms of other screens,

  1. there appears to be a 5 panel screen with a metal frame and a grey tree motif painted on it that is available to use.  Discussion surrounding this item suggested that the existing tree motif might be too unpleasantly iconographic or discordant with the show concept. [JZ: The fact that it is discordant with the show concept may be the reason to use it. I’d like to consider using this piece particularly if the Mechanicals can erect it during the show.]

 

In terms of video production/projection:

  1. A filmmaker is needed, as well as a sound recordist.  John Iacovelli mentioned the possibility of using his Film Festival contacts to generate some leads for these positions.
  2. Following a chat with Ned regarding a light package stored at the Regency, John Iacovelli also mentioned needing to email Sarah Pia Anderson.
  3. I still need lens info/photometric data for the projections from Brian Webber and will inquire about this in more depth shortly.
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