The BYU Department of Theatre & Media Arts provides students with opportunities to gain hands-on experience in technical theatre by assigning them as lead designers for main stage productions. Wait Until Dark is a unique and thrilling experience to create the design for ultra realism on stage.
As dramaturg, I interviewed some of our designers and asked them about their experience creating the world of Susy and Sam’s apartment in Greenwich Village.
What was your process like, going from page to the stage?
“I always start with meeting the needs of the script and director, but after that, I try coming up with as many sketches and ideas as possible. When ideas become more solid, some of the most creative solutions come from budgetary constraints. It's always important to remember the teams who help contribute to the final show, and I couldn't have done it without them!” (Cooper Tribett, Set Designer)
“The process for a sound designer slightly differs from other designers. After I have read through the script to experience the story, I do another readthrough and mark all the possible sound cues I can, putting them into a list called the Sound Plot or Cue Sheet. Then, instead of starting to build something physical, I spend a good portion of time looking for sound cues. A show can be made of many sound cues, or very few. I then work with the director to make sure the sounds fit his vision for the show, and then I get to work putting the sound cues into a program called QLab, that helps me run audio for the show. I then get to work deciding where the speakers go, how loud they are, etc., and then we’re ready for the show!” (Joey Wright, Sound Designer)
“It was important for me to understand a bit about the characters, their personalities, and their environment. I took notes as I read the script and analyzed each character's lines and ways of saying things to get an idea of that. Then, I tried to translate that into their makeup and hair, so that once you look at the characters we can know at a glance who they are and what they represent. So, for Susy for example, a more rounded look with cheeks and brows to show her softness and femininity, as compared to all the other male characters that are around her with an evil, sharper and more angular look.” (Alice Roque, Hair/Makeup Designer)
“When designing the costumes for this show, my primary sources for historical research were Sears catalogs of the late 1960s. And while it never made much of an impact on the final designs, I also did a lot of research on what getting dressed and closet organization looks like for a blind person. (A common response from the blind community was that they attach braille tags with the colors and descriptions to each piece)Then after the research process was over, I went through a few rounds of costume sketches before drawing up the final renderings that you can see in the lobby display!” (Maggie Harper, Costume Design)
What about your design are you most passionate about that showcases the world of the play?
“I love the depth and layers we were able to bring to this set! It feels so alive and inviting to the audience as though we are all part of the show! As much as I want to, they told me I can't move into the set when the show is over.” (Cooper Tribett, Set Designer)
“I wanted to create a believable world within and beyond Suzy’s apartment. We are surrounded by sound all the time, even if we don’t hear it exactly. You often won’t hear the clock on the wall ticking, but when you enter your kitchen in the dead of night, that kitchen clock is the only thing you here, and it is loud. I have worked to create that effect for the audience, enhancing the moments of tension throughout the play. Then, when everything goes dark, the audience is still in the world, in the apartment.” (Joey Wright, Sound Designer)
“I really like the simplicity and subtlety of all the looks together. There are such small details, but all come together to add interest to the characters and match their role in the show. I'm excited to see all my designs executed in harmony with the costumes and bring the essence of the time period and the different personalities to life to tell this thrilling story.” (Alice Roque, Hair/Makeup Designer)
“I'm excited about the color palettes and texture profiles of the characters, and how they work together to create a cold, dark, and rainy fall atmosphere that lends to the suspense of the play.” (Maggie Harper, Costume Design)
Past Productions at BYU
The last time BYU produced Wait Until Dark in its main stage season was back in 1999 in the Pardoe Theater of the Harold Fine Arts Center. Take a look at the BYU library archive records of the production here.
