Colour Palette: The set will be painted in some warm neutral colours like the series on the left (under the painting) The Floor should have a texture to it. I like the texture of the painting and have given a photo reference of how we might transfer that to the floor. I also have a tile swatch I will bring to the meeting. The other colours are for the set decor, upholstery fabrics and props.
Design Concept and Research- August 2012 - 1st Draft of the Set Designs.
The Year is 1966 - first 5 scenes - Much of Britain had been rebuilt in the 1950s but with rationing and a huge economic deficit (due to the war) the thought at the time was to usher in a new era in city planning. Rid the country of its stone and brick Victorian extravagance and build fast efficient modular style city centres using new economic materials. (pictures below) I would like to make scenes 1,2,3 contemporary in design and use 1960's colours and textures. The design of the time was sleek with bold lines and was more geometric in nature. With hundreds of new synthetic materials produced by the war many interiors were experiments in mass production.
When we make a move to the Governess's house in Scene 4 I would like to represent the brick row houses that London is so famous for. The interior here however is older; like act 2 i will use 1950's decor but have some modern objects to show we are not in the past.
For scene 5 we move to a restaurant. By 1966 much of the British Empire had collapsed and become the Commonwealth. Beginning with India in 1949 a wave of immigrants flowed into "Mother England" as they were citizens of Britain too. I would like to make the restaurant in scene 5 an Indian Restaurant for that reason. It lends itself to Britain more anyhow.
Act 2 is set in the 1950s - This is a vastly different time in England even though it is just 15 years before. During this era Britain was still rebuilding from the war and rationing of meat and butter was common until 1954. That said the wealthy remained relatively secluded from the rest of the country but they still didn't modernize in the way America did. In the 1950's there was no wave of flashy new cars, the nuclear family or the boom in jobs. Indeed even the wealthy in 1950's UK remained, in their interior style at least, in the late 1940's. In act 2 we go back and forth between the present 1966 and into the memory of 1950. This shift should be made more or less with lights and as you read further the use of the cyclorama will help with this too.
THE STAGE: BASICS
- using the 3/4 Thrust Stage in a "v" configuration
- the set is an open concept without the use of flats only an approx. 25ft sq platform made of 6-8in tall risers (whatever is available)
- there are two half circle risers DSL and DSR represent bay windows and other architectural details and/or interest. If budget permits we can trim the risers to make them more British in feel.
- there are two wall units approx 3'6" to 4'9" tall by 12" thick. They are on wheels and will be moved several times to create various doorways and wall configurations. each side will be painted and dressed with interior design to give the feel of our two periods. one side will have a more 1950's/40's feel (maybe floral wallpaper) and one will be a 1966 colour palette with sleek lines.
- The floor will be a some swishy colours from the costume and set palette. The blending can take different colour washes well and will help with our locations. Some floor textures might blend into focus in 12"-18" sections. Because the second act is in memory this makes sense to have bits of wood floor or tile come into focus.
- there are also two fabric pieces or sails that can be used as a cyclorama. This creates some depth and colour washes can help with mode and location. The set pieces for other scenes can also be stored behind them and save time in scene changes. There is two of them so that we can use the part as an entrance if need be. The cyc. can simply be made of muslin or cheap canvas in a natural colour. They will be painted with handwriting that is blurry/illegible that can represent the "confession" that sparkes the whole play or it could also represent Agatha Christies writing. Its basically just more interesting to look at then plain white.
When we make a move to the Governess's house in Scene 4 I would like to represent the brick row houses that London is so famous for. The interior here however is older; like act 2 i will use 1950's decor but have some modern objects to show we are not in the past.
For scene 5 we move to a restaurant. By 1966 much of the British Empire had collapsed and become the Commonwealth. Beginning with India in 1949 a wave of immigrants flowed into "Mother England" as they were citizens of Britain too. I would like to make the restaurant in scene 5 an Indian Restaurant for that reason. It lends itself to Britain more anyhow.
Act 2 is set in the 1950s - This is a vastly different time in England even though it is just 15 years before. During this era Britain was still rebuilding from the war and rationing of meat and butter was common until 1954. That said the wealthy remained relatively secluded from the rest of the country but they still didn't modernize in the way America did. In the 1950's there was no wave of flashy new cars, the nuclear family or the boom in jobs. Indeed even the wealthy in 1950's UK remained, in their interior style at least, in the late 1940's. In act 2 we go back and forth between the present 1966 and into the memory of 1950. This shift should be made more or less with lights and as you read further the use of the cyclorama will help with this too.
THE STAGE: BASICS
- using the 3/4 Thrust Stage in a "v" configuration
- the set is an open concept without the use of flats only an approx. 25ft sq platform made of 6-8in tall risers (whatever is available)
- there are two half circle risers DSL and DSR represent bay windows and other architectural details and/or interest. If budget permits we can trim the risers to make them more British in feel.
- there are two wall units approx 3'6" to 4'9" tall by 12" thick. They are on wheels and will be moved several times to create various doorways and wall configurations. each side will be painted and dressed with interior design to give the feel of our two periods. one side will have a more 1950's/40's feel (maybe floral wallpaper) and one will be a 1966 colour palette with sleek lines.
- The floor will be a some swishy colours from the costume and set palette. The blending can take different colour washes well and will help with our locations. Some floor textures might blend into focus in 12"-18" sections. Because the second act is in memory this makes sense to have bits of wood floor or tile come into focus.
- there are also two fabric pieces or sails that can be used as a cyclorama. This creates some depth and colour washes can help with mode and location. The set pieces for other scenes can also be stored behind them and save time in scene changes. There is two of them so that we can use the part as an entrance if need be. The cyc. can simply be made of muslin or cheap canvas in a natural colour. They will be painted with handwriting that is blurry/illegible that can represent the "confession" that sparkes the whole play or it could also represent Agatha Christies writing. Its basically just more interesting to look at then plain white.
Act 1 - Sc 1 - Justin Foggs Office
-White Model - Act1Sc1
Act1 Sc I - "Fogg, Fogg, Banfylde and Fogg, Solicitors" 1966
- office is pilled with books and files,
- there is a desk with appropriate accouterments (mentioned in script)
- two chairs (period)
- blinds hang SL of door to represent a window.
- office is pilled with books and files,
- there is a desk with appropriate accouterments (mentioned in script)
- two chairs (period)
- blinds hang SL of door to represent a window.
Act 1 Sc 2 - Philip Blakes Office
Act 1 Sc 2 - 1966 London Office - Blake is a successful politician/ business/city type man - office is modern, rich feel, the kind of place you sit with a scotch and cigar.
- there is a desk with appropriate accouterments (mentioned in script)
- two chairs (period)
- curtains hang over the blinds SL of door to represent a window.
- also there is a drink cart. NOTE: i don't like where i put the drink cart in this image. I would move it to one of the 1/2 circles so the actor is facing the audience while he mixes his drink.
- during the set change we remove books & change items on desk,
- change chairs to leather ones (if possible)
- add curtains to window to give a richer feel,
- bring on drink cart
-wall units and desk remain the same (many office blocks in 1966 would have been built exactly the same in an effort to eliminate "stuffy Victorian architecture")
- colour on the cyc might change to tell us we are in a new local.
- there is a desk with appropriate accouterments (mentioned in script)
- two chairs (period)
- curtains hang over the blinds SL of door to represent a window.
- also there is a drink cart. NOTE: i don't like where i put the drink cart in this image. I would move it to one of the 1/2 circles so the actor is facing the audience while he mixes his drink.
- during the set change we remove books & change items on desk,
- change chairs to leather ones (if possible)
- add curtains to window to give a richer feel,
- bring on drink cart
-wall units and desk remain the same (many office blocks in 1966 would have been built exactly the same in an effort to eliminate "stuffy Victorian architecture")
- colour on the cyc might change to tell us we are in a new local.
Act 1 Sc 3 - Carla Crales Hotel Suit
ACT1 Sc 3 - Hotel Suit London - this is a simple white model of how I would like to shift the walls to make a hotel suit. The furnishings in this model are not of the right period and there is not enough pieces to suit the action in the scene. This is something to talk about when we meet.
Scene should have ...
chair love seat or sofa
end tables
a lamp
telephone
Scene should have ...
chair love seat or sofa
end tables
a lamp
telephone
Act 1 Sc 4 - Miss William's Apartment
Act 1 Sc 4 - Ms. Williams Flat - London Row House
This scene might only require two chairs, a small table and a lamp.
I would like to have the walls moved again so they look like the roof tops of London by adding some chimneys to the tops of the wall [see ref. photo below]
NOTE: It might be possible to set up the last two scenes of act 1 on opposite sides of the stage so that we only need to light one area at a time and we are able to move right into Sc5
This scene might only require two chairs, a small table and a lamp.
I would like to have the walls moved again so they look like the roof tops of London by adding some chimneys to the tops of the wall [see ref. photo below]
NOTE: It might be possible to set up the last two scenes of act 1 on opposite sides of the stage so that we only need to light one area at a time and we are able to move right into Sc5
Act1 Sc5 - Table at Restaurant (Indian)
Act 1 Sc5 - Table at Restaurant in London
The use of an Oriental style screen with Indian fabric or scene painted on it will suits best for creating atmosphere without much effort.
The use of an Oriental style screen with Indian fabric or scene painted on it will suits best for creating atmosphere without much effort.
Act2 - 1966-1950-1966
Act 2 - 1950's style country manor in the west of England. The walls have been flipped around to the same side we saw in Act1Sc4 and a set of french door added leading to the outside veranda. I've also considered using the walls with short sides to the centre or even eliminating the french doors so we could see what's going on outside more easily.
The Walls, and the Cyc has been moved upstage during the intermission and the act 1 set pieces removed from the theatre. This will give us a larger space for both the living room and back veranda. The living room is furnished with 1950s (or earlier) pieces like a sofa, fireplace, chairs, coffee table, area rug etc. The space will feel very different from Act 1.
There is a fire place with "the painting" above it. The painting should be reachable so it can be flipped by a cast in blackout or a crew from behind.
Again the 1/2 circle risers can function as places for asides and whispers. They also represent bay windows and could hold a small chair, bench or table.
.... work in progress....
The Walls, and the Cyc has been moved upstage during the intermission and the act 1 set pieces removed from the theatre. This will give us a larger space for both the living room and back veranda. The living room is furnished with 1950s (or earlier) pieces like a sofa, fireplace, chairs, coffee table, area rug etc. The space will feel very different from Act 1.
There is a fire place with "the painting" above it. The painting should be reachable so it can be flipped by a cast in blackout or a crew from behind.
Again the 1/2 circle risers can function as places for asides and whispers. They also represent bay windows and could hold a small chair, bench or table.
.... work in progress....