"Setting" One Flea Spare

Our last post had to do with putting the fictional Snelgraves into historical and geographical reality with their would-be neighbor, Samuel Pepys. Today's post is in a similar vein in that it's about taking the description of the setting given by Ms. Wallace, the playwright, and bringing it to the physical reality of NC Stage's space.

Here's the description of the setting:
"A room that has been stripped of all its fine furnishings, except for a couple of simple, though fine, wooden chairs. One small window upstage. 
 
A cell or room of confinement.

The street below the window of the Snelgraves' house."

So how does that all come together and mesh with the ideas of the director and other designers? Well, there are a series of production meetings where discussions occur, ideas are thrown out and others replace them, decisions are made and eventually action must take place. In the slideshow below, you can see the evolution of the set design from model through construction through painting to completion (roughly). In some of the painting pictures, you can see the Scene Designer himself, James Johnson. You can also see how with the design of the set, we made the decision to bring in the seating of our side sections, as the playing space is a bit more confined than usual. (They're great seats, by the way...)

Enjoy the (slide)show! And, of course, feel free to share your thoughts and comments below.

More Designer Responses... Questions, anyone?

For today's post we have James Johnson's responses to the designer questionnaire. James is our set designer, and here's what he had to say:

1) What's your history with this play? Angels in America was one of the first productions I was in during my college career. I was a freshman, and I played Prior Walter in Perestroika. I was in way over my head. I don’t think I understood the cultural importance of this play, which is integral to a quality production. For me, this play is so much more than a play, it’s a commentary, a critique, an adventure with America at the heart.

2) What has been your biggest design challenge for Angels? Ha! Biggest design challenge? How does an Angel crash through the roof? How do we move seamlessly from scene to scene in such a small space? How do you excite the production team with an interesting design? How do you speak to the audience through a design? A very good friend of mine once said, "I never finish a design, I simply abandon it." That statement speaks volumes to what I try to do onstage. Everything is a challenge, and should always be a challenge. But that’s why I love what I do!

3) What aspect of the design process for this particular production excites/has excited you most? I love finding interesting shapes and colors that can become other things or harken an idea. For this production we harken the look of New York, yet nothing really looks like New York. Its more American than that.

4) When you think of 1985, what comes to mind first? I wasn’t born yet... Is that weird?

5) What's your favorite chaser for hot dogs? Or, your preference: hot dog or antacid? Or, if that weirds you out, what's your favorite flavor of ice cream? Hot dogs are good anytime, I would just have another hot dog. Cookie Dough!

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NCSC Mainstage: Angels in America

As we approach the opening of Angels in America, we will be posting some more responses of our design team about their process and vision for the production and interviewing some cast members about their experience. I just came up with the questions on my own, but how 'bout you? Do you have questions for our Director? Cast members? Designers? Artistic Director? Producing partners, Western North Carolina AIDS Project (WNCAP) or Posana Cafe?
 

Respond at the end of the post or email us. Hope to be hearing from you soon...