Set Model for GOLD DIGGERS OF 1933 (unproduced)

Here are some photographs of a design I did for a stage version of this classic Warner Brothers movie. Sadly this was never produced, but I thought that the design might be of interest.

Two revolving set units on either side of the stage represent the backstage area of a Broadway theatre. The only physical props used are a rolling piano and two bentwood chairs. The low wall at center back acts as a puppeteer's bridge during the musical numbers and a slide screen positioned above the stage area presets stills and film clips as a background during scenes.

Here the revolving units are in place for the second musical number in the show. The design mimics a classic Animal Crackers box which the heroine is seen holding as the number begins. The set revolves during the number with the Monkey cage piece brought in for marionette monkeys used in the number. The two girls in blue are mimicking the polka dot clowns from the cracker box top. Projections from the 1930's cartoon version of PETTIN' IN THE PARK.

The finale musical number. Again the revolving units with swing out panels from the background. Projections of the Busby berkley overhead shots from the film on the screen above. Marionette "showgirls" fill out the chorus as the principles perform the number on stage.

I was particularly fond of this concept for a show but was unable to sell it to the artistic director of the theatre company I worked for at the time. Ah well..... 

Creating and Lighting the Theatrical Model

 Lesson # 1: Make accurate measurements. Lay out your proposed ground plan. Cut from light wood and cardboard your proposed set pieces. Move them all around...a lot! Re cut, Re align, Re think.

 Lesson # 2: When you arrive at a concept that makes sense...stick with it! Decide how to utilize it effectively and then...Light it so that you...and your prospective  Director,  Lighting Designer,  etc. can also visualize your Design.

Lesson # 3: Produce a model that looks like this. Simple and Effective. The use of space and scale should all be affected in order to effectively produce a play on a real stage for maximum audience participation and effect.

Set Model for THE MERCURY THEATRE - DRACULA (unproduced)
The action takes place on multiple raised levels with only the table and chair as props.

LILI closes...what next?

 My production of  LILI for the Hip Pocket Theatre has closed it's run. These photos, dutifully taken by my husband Sam Silva after the performance ( while I smoozed with the theatre-goers ) give a pretty accurate image of the actual set when compared with my original design.

 The strings ( cables actually) of café lights and colorful pennants which hung at each side of the stage and lit up magically during the carnival sequences,

 The Balloon prop pieces, carried in by the Carnival Girls and placed in the upstage brackets. Using 12" diameter inflatable beach balls on dowel supports instead of actual balloons worked perfectly! Hardy and fully inflated for the entire run of the show, and most of all "wind-resistant". I discovered that a strong prevailing wind blew through this outdoor space almost nightly which precluded the use of some of my more intricate set pieces..... So a hardy bracing with 2x4s was in order all around. Less mobile, but no less functional or beautiful.

It takes a great number of people to put on any show, and  LILI  was no exception. I was very lucky to have available such an incredibly talented and professional ensemble, both on stage and behind the scenes to make the show come to life each evening. "Enchanting" is the word which I heard most often, both from the critics and from the audience after each performance. That is exactly what I was shooting for, so....Success!

And now, you may ask....What Next?

Some photos from my production of "LILI" for the Hip Pocket Theatre this summer!

 Poor LILI threatened by the nasty Shopkeeper...

 Rescued by the handsome Magician...

 Drawn into the Carnival by the wily Jacquot...

 Where she sees the Magic Act!

And at last meets the PUPPPETS!

The overall design for this show works perfectly. There were several compromises in the staging which led us to a much more simplified play. In the end though it all worked magically to enthrall the audience, which is everything I had hoped it might.

Onward to the next project! Stay tuned!

LILI Opened August 14th - Dog Puppets Onstage!

 Here are some production stills from my production of  "LILI" which just opened at the Hip Pocket Theatre in Fort Worth, Texas.

 The Dog Act from part 1 of the show. The Trainer in the center is actually attached by strings to the two dogs in order to make the "act" work. As he raises his hand and tosses the ball to the dog, it travels down a string from his finger to the dog's nose. Once in place the Puppeteer grips the ball string and the Trainer can then lower his hand.

 As I imagined they might, these two stole the show opening night!

See previous posts for the design and construction of these simple dog marionettes. They turned out to be amazingly lifelike and adorable.

Time for LILI at last!

It is hard to believe that almost a year has passed since I first began work on LILI, and now it is time to travel to Fort Worth, Texas and the Hip Pocket Theatre and turn my designs into the reality of a full stage production!

LILI opens August 14th for a four weekend run through Sept. 6.

If you are in the Fort Worth area this summer, head on out to the HPT and see the show!

Dog Marionettes completed

 I built the two Dog marionettes back before my surgery, saving the fur coverings for afterward while I was recuperating.
Here they are completed:

 PIERRE the smaller of the two at 18" high with his balancing ball. The ball has a hollow tube running through it. A string runs from nose to a ring worn by the "Trainer" who tosses the ball and raises his hand at the same time so the ball is "caught" by Pierre on the nose. A magnet holds the ball in place so the Trainer can then lower his hand and eventually snatch the ball back from the dog's nose at the end of the act.

 "What You Lookin' At?"
 I found this fleece-like synthetic fur which looked more like actual dog hair than standard faux fur. It is judiciously hot melt glued to the wooden body with some area's left uncovered and painted off white.

 CHLOIE is Pierre's larger sister at 26" tall. Like Pierre she catches and balances a ball on her nose by the same method.

This really simple design has rendered a surprising range of "dog like" movements with just a twist or dip of the controllers. The tails are wooden beads on heavy plastic zip ties and mounted to the rump of each dog. As they walk the tails "wag" .

These were designed just as a 2 minute walk across bit while the Carnival set pieces are moved into place behind, but they turned out so well that I'm afraid they will steal the scene and the audience's hearts as well. So they may have to make another appearance at some point in the play.