Interview with the Set Designer

By Abram Yarbro, dramaturg [caption id="attachment_3002" align="alignright" width="194"]

Set Designer, Logan Hayden[/caption] For the interview, See How They Run set designer Logan Hayden agreed to take me to the Margetts Theatre where some of the set has been constructed. We were both very excited at seeing the performance space finally take shape, but he could hardly contain it when he saw the latest construction: Logan Hayden: “I've been waiting for these pieces to come together for so long so I could actually look at them. And... Wah Lah. And now I can stand up here instead of imaging what it would be like!” [caption id="attachment_3001" align="aligncenter" width="503"]

The walls are up and the set starts taking shape.[/caption] Abram Yarbro: Why did you want to be a Set Designer? Logan Hayden: I did design in High School. I started as a lighting designer and I designed four or five shows and then I ended up doing a scenic design my senior year which I loved. And then I went to college, I went on my mission and then I came back and said “that's going to be a fun hobby but I'm going to find a JOB." And then I met Rory Scanlon and he advised me to take a scenic design class from Eric Fielding, who used to be the scenic design teacher. I started taking that class and loved it and then I started taking more classes and doing more things. Eventually I got sucked into the theatre vortex and haven't escaped since! [caption id="attachment_3005" align="aligncenter" width="448"]

The playing space is painted like the wood floor of an English vicarage.[/caption] AY: So take me through the process from being contracted for the show to now. LH: I was first invited to do the show in mid-January. Eventually we got scripts and I read the story. We started having production meetings and then as I read the script I would do the normal paperwork to notes of “enters through the door here,” “sits down on the couch here.” I found some really interesting books from the library that had typical classic English homes. I used those as visual reference of architecture, sizes, types, styles, some colors and also my concept sheet. As I talked with Barta (the director) about how she wanted it to be a whimsical farce, I thought of the birds. I guess if you look at it, maybe you can think of it as just a giant birdhouse. I spent a lot of long nights trying to put my research together. Thankfully I've had a lot of good conversations with Barta. [caption id="attachment_3006" align="aligncenter" width="507"]

These platforms will hold 150 chairs for the audience members.[/caption] AY: So you did the research and then you do a sketch, like a design sketch? LH: Sometimes you start with a pencil sketch, sometimes I start with a 3D modeling program. I definitely have a sketch up model, I don't remember if I have any hand sketches. Then eventually I took that sketch model and turned it into drafting plans which I eventually turned into the shop so they could build it. From those drafting plans, I printed them out in scale, pasted them on foam core, and turned it into the white model. [caption id="attachment_3004" align="aligncenter" width="413"]

The White Model of the See How They Run set.[/caption] AY: I know that the script comes with a recommended set plan, why did you do something different? LH: I really like to take a script and make it my own in whatever way that is. Some people might do that using the plans that were there. But especially in this space.... There were a lot of problems we were running into. If we were on a proscenium, that would have been a lot easier. It's kind of an awkward space for the script so we ended up turning it sideways to try to get that corner and the space that it affords us. That's why the seats are tilted. [caption id="attachment_3008" align="aligncenter" width="451"]

The suggested scene design doesn't fit in the Margetts Theatre[/caption] AY: If there was one thing you wanted people to notice about your set what would it be? LH: Part of me would say nothing because then they're paying attention to the story. I think we have a lot of fun details planned into set, nick-knacks here and there that hopefully doesn't take away from the play but adds a little flavor that people weren't expecting. Unexpected little things that if you notice it, you will appreciate it but it won't distract. So just watch for the little Easter Eggs.

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by Janine Sobeck, dramaturg Tech week is one of the most exciting moments in any show. It's the time when we get to leave our rehearsal room, move onto stage, and add all of the production elements. To help the actors adapt to all the changes we usually make a gradual transition. Pre-tech: While still in the rehearsal room, actors are given certain rehearsal props and costumes to help them in the creation of their characters. In the case of Princess Academy, all the girls were given rehearsal skirts and all the characters were given rehearsal books and and other items (such as the miri flower). We also added all of the instruments used in the show. Tech day 1: The first day of tech included adding the set and sound. One of the biggest changes for our actors is the ramps on our stage. They finally had the opportunity to climb the mountain! Tech day 2: It's time to add the props! In order to support Director Megan Sanborn Jones' vision of the show, prop designer Scott Jackson made all of the props out of paper, letters, and books. Tech days 3-4: This is what we call an "All Tech." The final elements of the show (lights, costumes, and make-up) are added into the mix. Day 3 is spent working through all the cues in act 1 and day 4 is spent working through act 2. Tech days 5-7: The time has come to run the show! These are our dress rehearsals, where the goal is to do the show exactly as if it was a real performance. This means starting at our normal curtain time and trying to never stop. The director, playwright, dramaturgs, and designers sit in the audience making notes about what is working and what still needs to change. At the end of the nights, the actors and designers are given feedback and we rehearse any moments that need some extra attention. Tech day 8: Which is today! Tonight is the time when we finally get to add the final element of the show: the audience! Our final day of tech is known as the "preview performance." Friends, families, and students are invited to see the show before we officially open. While we always reserve the right to stop the show if necessary (it is, after all, still a rehearsal), we hope that everything will go smoothly!

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Last week, A Midsummer Night’s Dream opened in the Nelke Theatre and it was a great success! Eric and I were pleased to be a part of the opening night and celebrate not only the opening night of the production, but also the 40th anniversary of the Brigham Young University Young Company. In order to set the tone of the evening, patrons were encouraged to check out the lobby display that Eric and I had created for the show. We chose to do a puppet making station, aptly named “The Mechanicals Puppet Making Station” where guests and participants could make their own puppet out of a sock or paper bag. Other craft supplies were provided for the participants—allowing them to use their imagination and create a unique puppet that they could take home. Creating such a lobby display, we hoped to provide patrons, and especially children, with an opportunity to use their imagination and create something special, as well as connect with the style of the production before seeing the show. The role of puppetry is crucial to this adaptation of Shakespeare’s Midsummer Night’s Dream—and we wanted to capture this and incorporate it whatever lobby display we chose. The actor’s hard work and rehearsal, as well as that of the production team, paid off—they did a marvelous job in telling the story of these loopy lovers and the adventures that take place in the magical forest. The puppetry skills and acting chops of the actors, the enchanting costumes, simple set design, and energy from the whole cast was thoroughly enjoyed by the very diverse and supportive audience. It was a packed house: if not sold out, very close. And this definitely contributed to the energetic feeling that pervaded the evening. Perhaps it was the presence of so many alumni from the Young Company that had come to support the production and celebrate the 40th anniversary of the formation of Young Company. Among the guests at the premier were Harold Oaks, founder of the BYU Young Company. Following the play, a presentation was made outlining and honoring the history and legacy of Young Company. Young Company has done an outstanding job for the last 40 years in providing quality theatre (adaptations and original works alike) for children that may not be exposed to the performing arts. A wonderful reception followed the presentation and was well enjoyed by cast and crew alike. A Midsummer Night’s Dream closes at BYU this Saturday, the 14th. Make sure to get your tickets soon and catch this unique production while you can! It will then go on tour throughout Northern Utah, presenting its whimsical and humorous message to elementary school children. Following are some images from the Opening Night Gala!

Interview with the Set Designer

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