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 Jessa Cunningham, dramaturg After the show wrapped up and people went their separate ways, Garret Rushforth, who played Wilbur, and I chatted and I asked him some questions about his experience with the play. What better way to gain insight about the show than from the actor who was in the thick of things from the very beginning? Here is what Garret had to say about this unique opportunity: Me: How was this experience of playing Wilbur? What was your Favorite aspect of it all? Garret: I loved playing Wilbur. My favorite aspect was discovering the character more and more each performance. I never really felt that I had learned all that the character had to offer. Me: What were some challenges that you faced while preparing for the show? Garret: A few of the challenges that I faced had to do primarily with transportation. My car tried to die a couple of times during the run. As far as developing the show goes, I found that the difficulties were mostly in finding the lines. Not simply reciting them, but discovering what was beneath them, motivating them and making them come to life. Me: What lessons have you learned from playing this part, or just from the play in general? Garret: I've learned that there is an amazing opportunity to find out about yourself from the character discovery process. I also learned how much a family the cast can become if given the opportunity. Me: What is your favorite part of this story? Garret: I love when Wilbur and Charlotte talk about Charlotte's death and Wilbur is so devastated. It showed how deep Wilbur's reliance on Charlotte was as well as his desire to help her too. Me: As you leave this production, what will stay with you? Garret: The friendships I've made and the things that I've learned about myself because of the show. Me: What aspects of your character did you love/latch onto from the beginning? Garret: I latched onto the loneliness aspect of Wilbur's life. For all his life, he'd not been given much of a chance, Fern and Charlotte being the exceptions. He was written off by nearly everyone until Charlotte pointed out how special he is. Me: Any final thoughts you would like to share with those who came to the show? Garret: Charlotte's a web was a show that offered a unique view of friendship and family. It doesn't matter what someone looks like or where they're from, friendship and family can transcend all differences.

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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!

Interview with the Set Designer

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