Today we focus on the Scenic Design.
In order to accommodate 18 different settings that the army of characters have to move in and out of, the set has to function on a very minimalist scale. The design relies on imagination to be flexible. It sketches in the lines and the acting fills in the rest. A handful of benches, tables and desks, are moved and assembled to make parlors, bedrooms, school hallways, haylofts and other locals.
And because there are so many scene changes, they become choreographed as part of the play. When we are watching the set pieces move, we are not hurrying through something that interrupts the verisimilitude of the piece, but is actually a device that is part of the storytelling. At the end of each sequence the action breaks and takes the time it needs to reset before an actor steps our and announces the new scene we are about to witness.
*Thank you to Aaron Menninga for the research model.
Happy Birthday: Samuel Beckett (1906-1989) & Sir John Geilgud (1904-2000)