agrosvenor-fmp-blog

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Altered Set Model

As I did not have time to alter the set model before the production, and as I found the set aesthetic changed with the use of raw building materials giving the structure more character as I had previously hoped I went on to alter the set model after the production as a final representation of my design that could be used for my portfolio and the end of year exhibition alongside production stills.

Image of Altered Set Model

I understand it can be seen by some as it not being ideal for a set model to change visually during the build week. However I have always welcomed the development of design work through the making process. Throughout the build I was faced with issues of health and safety requirements from the scaffolding company which added to major changes in the model. I understood these were non negotiable and found that making these compromises added unforeseen elements to the set that I felt added to the realism of the set and the visual detail. For example raw building components like the swing doors, scaffold clamps, scaffold boards, screen tracking, cable ties, things I had not demonstrated in my set model yet I had anticipated giving the set more character I felt only added to the final outcome.

The only change I felt compromised the set design was the non negotiable double guard rail at the front of the upper level structure. This caused sight line issues that the cast had to overcome by taking up different positions such as standing and leaning on the guard rail rather than sitting. Despite the guard rail not being ideal I understand how much is was necessary and would not have felt comfortable with the end result compromising the safety of the cast.

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Bibliography

Bartlett, M. (2010). Earthquakes in London. London: Bloomsbury Methuen Drama.

Beudert, P. and Crabtree, S. (2012). Scenic Art for the Theatre. Waltham: Focal Press.

Big Dug (2015). Mobile Warehouse Safety Steps. [online] Available from: http://www.bigdug.co.uk/steps-ladders-c382/mobile-safety-steps-c383/mobile-warehouse-safety-steps-c386/8-tread-mobile-warehouse-safety-steps-top-tread-2000mm-pp13315 [Accessed 20 December 2015]

B&Q. (2015). Fences and Gates. [online] Available from: http://www.diy.com/departments/outdoor-garden/fences-gates/DIY581029.cat/category-27004=DIY594255 [Accessed 16 January 2015]

Brandon Tool Hire. (2015). Powered Access Self Propelled Platform Hire. [online] Available from: http://www.brandontoolhire.co.uk/en/access/10-self-propelled-access-platform.html [Accessed 20 December 2015]

Browns Ladders (2015). Medium Duty Mobile Safety Step. [online] Available from: http://www.brownsladders.co.uk/steel-mobile-safety-steps/medium-duty-steel-mobile-steps [Accessed 19 December 2015]

Buetts Fence. (2014). How to build a chain link fence (part 2). [online] Available from: https://www.youtube.com/watch?v=Qzvt9aJpHSM [Accessed 16 January 2015]

Carter, P. (1994). The Backstage Handbook. Broadway Pr.

Domer, K. and Roznowski, R. (2009). Collaboration in Theatre: A Practical Guide for Designers and Directors. [e-book] Palgrave Macmillan. Available from: https://books.google.co.uk/books?id=GvzHAAAAQBAJ&dq=collaboration+in+theatre&source=gbs_navlinks_s [Accessed 15 January 2015]

Equip 4 Work (2014). Fort Easy Steer Mobile Safety Steps. [online] Available from: https://www.equip4work.co.uk/shop/fort-easy-steer-mobile-steps.html?utm_source=GoogleBase&utm_medium=XMLbase_feed&utm_term=Grip+Lift+Mechanism+Steps&utm_campaign=Fort_Easy_Steer_Mobile_Warehouse_Steps&gclid=CITq1p3xi8ICFcrKtAod3n4AUQ [Accessed 20 December 2015]

Hart, E. (2013). The Prop Building Guidebook: For Theatre, Film and Tv. Burlington: Taylor and Francis.

Instructables. (2015). Sugar Glass. [online] Available from:  http://www.instructables.com/id/Fake-glass-bottleSugar-glass/ [Accessed 10 January 2015]

Jacksons. (2015). Galvanised Chain Link. [online] Available from: http://www.jacksons-fencing.co.uk/product/sc_303700/-2.40m-high-50x3.00mm-12.5m-roll-galvanized-chain-link-inc-line-wire.aspx?tpc=AY&fmc=CC&fnc=BL&timber=0 [Accessed 16 January 2015]

J.D Mcdougall LTD. (2015). Gauze. Available from: http://www.mcdougall.co.uk/fabric/fabrics/gauze/ [Accessed 27 January 2015]

Ladder Store. (2015). Extra Wide Mobile Steps. [online] Available from: http://www.ladderstore.com/ladders/warehouse-steps/mobile-warehouse-safety-steps/klime-ezee-extra-wide-mobile-step-with-double-handrail.html [Accessed 21 December 2015]

Lansford Access LTD. (2015). Warehouse Ladders. [online] Available from: http://www.ladders-999.co.uk/warehouse-ladders?limit=all [Accessed 28 December 2015]

Metro Screenworks. (2011). How to build a wooden window screen. [online] Available from: https://www.youtube.com/watch?v=48bJ2rVwxOg [Accessed 10 January 2015]

National Theatre. (2015). Creating a cast concrete effect. [online] Available from: http://www.nationaltheatre.org.uk/video/creating-a-cast-concrete-effect [Accessed 17 January 2015]

Nation Wide Platforms. (2015). Access Equiptment from Nation Wide Platforms. [online] Available from: http://www.nationwideplatforms.co.uk/[Accessed 1 December 2015]

Seltek Warehouse. (2015) Quality Red Range. [online] Available from: http://www.seltekwarehouse.co.uk/warehouse-steps-quality-red-range-c-93_120_123.html [Accessed 15 December 2015]

The Work Place Depot  (2015). Safety Steps. [online] Available from: http://www.theworkplacedepot.co.uk/safety-steps [Accessed 15 December 2015]

Varia Textile LTD (n.d).Tulles and Gauzes, Flame Retardent. [online] Available from: http://www.varia-uk.com/trevira_gauzes.php?lng= [Accessed 27 January 2015]

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Production Afterlife

Overall I feel the show was a success and worked visually far  more effectively than I believed we could achieve. I belive this was due to the preperation, communication and in depth understanding of the visual aestetic of the show demonstrated by every memember of cast and crew.

From the start of the project it was my concept and belief to have a set design that did not contradict the message of the show. This would mean the set would need to be as environmentally friendly as possible and all materials used for it would need to be a recyclable as possible.

From this concept I feel we achieved this aim using scaffolding as the main structure, as it would be dismantled after the show and reused for further business within the scaffolding company. The mono-flex we used to dress the scaffolding was also from the scaffolding company and was not wanted by them, therefore we were able to recycle what they did not want instead of ordering new items. The mono-flex is made from a plastic material that can be recycled and reused also after the show.

The chain-link fencing was from an Ebay seller who no longer had use for the chain-link bundles. All furniture and props were sourced from charity shops, the university and through word of mouth among the cast and crew.

The ladder was a new investment as despite trying it was impossible to source a second hand one to the right specification, I also had health and safety concerns too that the ladder may be less safe if it was second hand. Despite having to buy a new ladder I feel it will be put to good use as plans for it to be used for the costume or prop stores offsite have been mentioned and even selling it to another buyer.

The gauze also had to be brought with a fair amount excess to allow for damaged screens and repairs that may be needed during production week. The gauze however has since been put to good use for 'Once In a Lifetime' and I feel will keep being put to use for future productions as it is a staple material to theatre design.

Finally even the bin bags onstage were filled with recyclable materials found in the costume departments recycle bins. Overall I feel on the environmental aspect the set worked quite well with only major items needing to be brought and with a high percent of items having the ability to be recycled or reused further.

As a designer I feel I have fore filled my role well. From 'Specialist Practise' leading up to and all the way into 'Final major project' I have prepared myself and the crew around me, supplying everyone with more information than needed to allow for a smooth running production.

 I feel I have interacted with every member of cast and crew on a consistent level and feel I gained a large amount of insight into the processes these specialist roles follow. 

I feel I have also been proactive throughout when it came to physically building, preparing materials, sourcing and ordering to work to the short timescale of production. I also feel I have proven my ability to work as a professional alongside members of the cast and crew, developing further my ability to keep calm and problem solve when under pressure and discuss delicate issues tactically with specific members of the crew.

Through my use of preparation and research on building materials and budgets I have not only learnt far more than I anticipated but have also proven to members of the crew that I have an understanding of budgets and processes. From this I feel from the start myself and my opinions were taken more seriously.  

Despite these positives I could have improved myself further by being more prepared with visuals for the crew. For example having a visual story board for the cast to work alongside in rehearsals rather than just a detailed staging plot.

This however, due to timing was not possible. I also feel within the building process I was organised and able to delegate and prioritise tasks well, alongside working in a team to achieve these tasks. Following this I sometimes felt pushed to the side and not very helpful when working in a team. I feel I could change this situation by being more physically confident and forceful when it comes to engaging more in future tasks.

Overall I feel the finished production was a success, I loved taking the set from a design model into a realised production and watching the aesthetics of it evolve through the input of outside factors when introducing reality to the design.

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Understanding the Budget

Throughout the project I paid close attention to the budget, I understood as set designer in a production such as this it was not my total responsibility. However I found it interesting to see our expenses as I was personally trying to spend as little as possible on the set due to wanting to have most of it out of recyclable materials.

After my initial budget breakdown in preparation for the first production meeting I did not make my more documentation based on the budget. 

Initial Budget Breakdown (Preparation for FMP)

However I often had meetings with the course tutor who organises show expenses, and was often updated by the head scenic co-ordinator and production manager. Therefore throughout the process of the show I felt I was very aware of the budget and was beginning to grasp how much of it gets used with unexpected building materials.

I feel it was good practise to stay informed as it developed my understanding on how to handle budgets. This would come in useful for future roles as set or costume designer where I may be more expected to take charge of a show budget.

At the end of the unit I had a final meeting with the same course tutor to discuss the budget and double check all documentation for it had been handed in. This was again useful to see for myself the general breakdown of things ordered from our side of the course. It also meant I could clear up any issues, for example I found a lot of orders from other shows had been accidently put under our budget an had these rectified.

Documentation of set budget ordered through the costume course

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Story Board of Production Images

A timeline of production stills taken by photographer Bill Bradshaw

Act 1 - Prologue 1960's - Young Robert and Grace

The safety curtain is down concealing the set, both characters perform on the apron.

Act 1 - Scenes 1 - Steve in the shower, Jasmine and Tom in Starbucks

The safety curtain rises and shows all characters on stage ready for the start of their scenes.

Act 1 - Scene 5 - Colin and supermarket worker in supermarket

Colin enters through the centre ground floor doorway, representing the narrow isles of a supermarket. Either side of him are projections of supermarket isles on the ground floor gauze sections.

Act 1 - Scene 7 - Sarah, Casey, Simon & office workers in office environment

The lighting is cold and lifeless to represent the mundane and unfriendly London office environment. Sarah stands over the workers dictating her speech showing her position in authority.

Act 1 - Scene 8 - Sarah and Carter in Sarah's office

The lighting it still cold following the previous office scene. The office is modern and unfriendly, the only signifier that Sarah works in protecting the environment is a 70's cheese plant on her desk mentioned in a previous scene.

Act 1 - Scene 9 - Steve and Businessman on aeroplane

Two red chairs matching the ladder placed side by side on the upper level represents the seating on an aeroplane. They walk up the mobile steps to their seats, representative of them boarding the plane.

Act 1 - Scene 10 - Jasmine and crowd in the burlesque scene

The burlesque scene makes full use of the ground floor staging,and the performance area the ladder can create. Projections of strip club neon signs are projected on the ground floor levels splitting the scenes still occurring on the upper levels.

Act 1 - Scene 11 - Colin watches students party on the ground floor level

Act 1 - Scenes 12 - Steve arrives at Roberts home and is met by Mrs Andrews

The lighting is cold and unfriendly and represented a home in the isolated countryside, Mrs Andrews stands at the doorway to Roberts home.

Act 2 - Prologue 1973 - Robert, Daniel, Roy in a business meeting

The characters are spread across the set facing out into the audience, this represents how despite being in conversation they are still not fully interacting or listening to the emotional needs of the other characters. This enhances how emotionally disconnected all the characters are in the play, and further represents how Robert was pushed into making career decisions by the 'bigger man'. The lighting is warmer and sepia in tone adding to the vintage aesthetic of the flash back.

Act 2 - Scene 5a  - Old lady and solider at war memorial

Poppy drop commences near the end of this scene, representing both fallen soldiers and falling in a way snow might.

Act 2 - Robert, Mrs Andrews, Steve - Roberts home

Act 2 - Scene 2 - Swimmers and Freya in Hampstead Heath

The set is transformed to represent the pond in which the swimmers are in, a water projection across the whole staging areas adds to this effect.

Act 2 - Scene 10 - The mothers scene

The mothers stand surrounding Freya on the ground floor level and stand over her on the upper levels. To add to the heightening panic and intimidation Freya feels throughout the scene projections are placed on the upper levels of previously filmed mothers from the same scene laughing.

Act 3 - Scene 4 - Carter and Sarah in Restaurant

Through a simple change in set dressing Sarah's office had been transformed into a restaurant. It was important to keep them in a similar area to what both these characters are normally in to show they haven't left the corporate bubble of London.

Act 3 - A variety of scenes happening at once

Different scenes are highlighted and focused on using lighting. All characters are visibly in role at all times.

Act 3 - Scene 7 - Steve and Robert outside in the rain

A colder lighting and rain projection is used on the lower ground floor level to represent both of the characters outside in the countryside.

Act 4 - Scene 1 - Robert, Young Sarah and Young Freya 1991

Robert sits at the front of the apron talking into the audience, his daughters are behind screens on the upper levels. Again this staging shows how disconnected all the characters are. The set is dark and shadowed with a strong spotlight on Robert and hint of blue lighting on the upper levels. This alongside white noise projection represents Robert sitting at home in the dark drunk in front of his television.

Act 4 - Scene 3 - Freya, Marina, Builders - the start of the Covent Garden dance scene.

This scene becomes a dance scene to Marina and the Diamonds 'I am not a robot'. The lighting is pink and girly like the style of the song artist. The pink lighting also represents how this scene is slightly surreal and potentially not part of an actual reality in the play but part of Freya's imagination.

Act 4 - Scene 14 - Freya, family and crowd in the earthquake scene before Freya falls

Act 4 - Scene 14 - The earthquake

Act 5 - Scene 1 - The narration

A builder takes on a theatrical voice and narrates the story of 'Solomon' he is spot lighted and the focus of all. The previous crowd on stage are shadowed silhouettes standing still and dauntingly listening to every word.

Act 5 - Scene 1d - Freya and family saying goodbye to Freya as she dies.

The lighting is stark and white to represent the clinical environment the characters are in. A projection of a heart monitor is displayed across the whole lower level.

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Liaising with the Director

From the start of working on 'Earthquakes in London' when it began in 'Specialist Practise' I found it very easy to communicate with the director. As I had such a strong and clear vision for the show I was very pleased at his openness to ideas that allowed Steph, Natsuki and I to push our designs into a direction we were keen to follow. I was also very pleased he allowed me to create the staging plot, as from the start I had very strong ideas about how the characters placement would work on the set. Despite this I did not want to seem as if I was treading into his role too much and often explained anything could be changed to work with his ideas. I also feel the show would not have been as smooth running had I not prepared the staging plot. Due to the complexity of the script, precious rehearsal time would have been taken up figuring out entrances, exits and staging. Instead the progress was a lot quicker and the whole play had been blocked by the end of day 3 of rehearsals, allowing the cast to go on to develop the scenes with their characters a lot quicker.

Despite the ease of communication of ideas between director and myself, I found it often very difficult to find time to talk properly with him. I feel this was due to the tight schedule and complexity of the show and understood he had to prioritise his attention on the cast and crew. 

This did cause some difficulty at times and I found the best way to communicate with him was through emails updating him on my progress and asking him to confirm ideas. I also found by attending rehearsals often, and making a point to go down to rehearsals every day to talk with the director, I proved I was committed to being involved and meant I could discuss any concerns he was having..

 I felt it was important appear readily available like this to show I was committed and to make sure the director and crew were being kept informed and confident of my progress and I was being kept informed by theirs.

Overall I feel I would have like to have had more time with the director in smaller meetings so we could discuss things properly, however I feel this was a result of working on a production with such a demanding script. Regarding this factor I feel we worked well together to liaise as often as possible and at no point did I feel the director was unaware or concerned of my progression. 

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Liaising with Scenic Artists

Throughout the production process I kept in close contact with the two main scenic artists and co-ordinators working on the show. The weeks leading up to production week I found us often working together or meeting in the studios. We also kept up to date with the process of ordering building and set materials through the use of the private Facebook group 'Earthquakes Set and Scenic'

Screen Shot of Facebook Group 'Earthquakes Set and Scenic'

Leading up to production week there was little building or scenic preparation that could be done. Aside from working together to build and dress the screens I asked them to help me on creating paint effect samples for the stage flooring. I also found the set and scenic artists to be very helpful with ordering building materials when I had to be in rehearsals and couldn't do it myself.

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Liaising with the Crew

Throughout the production I was able to easily liaise with the crew in rehearsals and through the use of a private Facebook group for the crew only. This kept me up to date with any issues or questions I needed to address, and also kept us informed of any scheduled meetings, rehearsal notes and general notices.

Liaising with Deputy Stage Manager

I found myself often meeting with the deputy stage manager during rehearsals to check the progress of blocking and staging and any changes or issues that have risen from this process that I needed to know about. I found I was often able to talk to the deputy stage manager far more frequently than the director due to his busy schedule so I was often passed on information or notices through these meetings from the director.

After watching a few rehearsals I was growing increasingly concerned that the cast and crew were not thinking about blocking in the movement of the screens. I met with the DSM and we were able to go through each scene and the movements of the screens and ladder. Despite all this information being readily available in the staging and screen plots I had prepared at the start of term I felt it was easier for the DSM to understand through talking through the play. This also meant we could discuss who would be best to move the screens dependant on who was on stage at the necessary time.

During this meeting I found time to create a visual reference of the screens positioning throughout all the acts. This is something I had been desperate to do but had struggled to find time to complete. These sketches also became very useful to Steph also and in hindsight I feel these should have also been prepared for the start of term over the Christmas break.

Rough sketches produced in a meeting with the DSM to use as a visual reference.

After the meeting I feel the DSM had a very clear understanding of the screen movements and she went on to enforce blocking these movements in in the final few rehearsals. Despite this progress I feel it would have been more beneficial to have spend more time on blocking the screens and there was often confusing during the tech runs dress rehearsals and even some shows within the cast about where the screens should be. This however was difficult to rehearse without a structure in the studio theatre.

Liaising with the Assistant Director

As I managed to pop down to rehearsals every day to check progress and watch the development of particular scenes I often found the rehearsals being led by the assistant director. I made a consisted effort to talk with him during rehearsals in case he had any issues or concerns to bring up.

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Liaising with ASMs

Throughout the production process I found myself liaising with the assistant stage managers far more than I had expected. This was mainly due to their roles in prop sourcing. As I could not go with them prop sourcing and some items needed to look very stylised to work within my designed environments, we set up another private Facebook group dedicated to props.

This was very useful as it meant I could post sketches and any relevant documentation up on the page. Pinterest boards were also linked to this page to use as visual references. The use of this group proved very time effective as whilst they were in the shops prop sourcing they were able to post images of items and I was able to okay the items straight away by commenting whilst working on other tasks on campus. I had also previously discussed all these items with the director so I knew I was confirming the purchase of the right props.

Screen shot of 'Props' Facebook group

Screen shot of images of potential sourced items uploaded to the group

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Liaising with Projection and Lighting

Throughout the process of the projections being designed to then being created I was very aware of Stephanie's stage of process and found we were able to collaborate in debating and encouraging each others ideas. At the start of the unit we began to formulate and develop each others ideas together. We worked very closely in developing a visual aesthetic for each scene regarding lighting, colour palettes and projection ideas. We also talked about how the placement of characters on stage and the screens could be enhanced by these elements. We kept up to date with each other by constantly meeting and through the use of collaborative Pinterest boards.

Collaborative Pinterest Boards

On our joint Pinterest boards we broke down each act into individual scenes and added descriptions of the scene and what we wanted to achieve visually through lighting, staging and projection.

Steph went on to develop these initial mood boards by researching into colour filters, the type of theatre lights that can create the desired effects and learning how to design, create and map projections. Later on she went on to plot the lighting ready for the theatre lighting technician.

I often was able to also attend projection and Modul8 and Madmapper sessions with Stephanie and a projection specialist in order to keep aware of the development of the projections. This proved helpful as I was able to converse with the specialist in order to support our design ideas, and also helped my make technical decisions regarding the set in order to work alongside Stephanie's projections better. One example being choosing between the gauze and the voile. This process helped me learn a few things on mad mapper and I would feel more confident to approach the software in the future.

Alongside this I attended lighting meetings between Steph and the university lighting designer and technician. Again I found this interesting as I was beginning to learn how the use of colour filters work and understand more about lighting found in theatre. I felt it was important to also attend these sessions as I was able to answer questions about the set so they could make decisions on the placement of the light rigging.

Overall I found mine and Stephs' work crossed over into each others very often so we chose to attend all meeting and tutorials together, this helped us get the maximum information out of each session we could get with a tutor or practitioner and helped us have a greater understanding of each others work. This helped us in supporting each other in critical decision making when it came to explaining issues to the rest of the crew of technicians involved. 

Lighting and projection plot example:

Created and sent by Stephanie to myself so I could use it as reference when checking over the staging plot. Stephanie also made use of the staging plot and screen plot to create the projection and lighting plot.

Production Week

Throughout build week I found us still working together, Steph often worked nearby in the auditorium rendering the projections ready for the show. This meant I could discuss with her any changes or rising issues. This also meant Steph often helped with set dressing and painted when she had a spare few minutes.

Once the set was built I was able to watch the technical run throughs, rehearsals and shows. I understood as Steph was busy working as projection technician in the projection booth she was not always able to clearly see the show so I took notes for the both of us regarding issues I needed to fix with the set and tweaks that needed to be done with the projections. I feel Steph found this helpful and we were able to discuss after each run through what needed to be done ready for opening night.

Inside the Lighthouse Projection Booth

Please see Stephanie Navarro's process with the projections and lighting via the following link:

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Liaising with Costume

Throughout the project I liaised with the costume crew. This came mainly through group meetings with Natsuki, Stephanie and myself, discussing visual aesthetics for scenes we wanted to create by bringing together all our design elements to work as one.

I also kept up to date with the costume supervisors, this was mainly due to assisting Asms who were prop sourcing on deciding whether certain prop items were correct in accordance with the costume designs and if the supervisors would be sourcing these props.

As a group Costume, Set and Projection and lighting kept up to date with each other on a private Facebook group 'Earthquakes in London'

This group also proved helpful in sharing documentation. For example I uploaded the final staging plot on this group so the costume supervisors could plan when and where quick changes were going to take place. Alongside this the supervisors uploaded their version of the costume plot so I could double check it worked alongside the staging plot and no characters would be put on stage in a scene when they were needed to be backstage doing a quick change. It also meant I could plan entrances and exits better, having particular characters enter last and through the quickest entrance if I could see they would be undergoing a quick change before the scene starts.

Screen shot of Facebook group 'Earthquakes in London' for Costume designer, supervisors, makers, set designer and projection and lighting designer.

Costume Plot - Created by Milly Barter and Emma Bentley

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Production Week Day 6: 07/02/15

The Saturday evening commenced the final show.  Out of all the shows I feel this one ran the smoothest, we also had the biggest audience that night. Once the curtain dropped I went backstage to start the get out. The whole cast and crew worked together to strip the scaffolding structure of cable ties, mono-flex and chain link fencing. As I knew we would need certain equipment to do this I supplied scissors, scalpel knives and wire cutters for people who didn't have any. The scaffolding structure had to be stripped bare ready for the builders to come in Sunday morning and take down the structure without any obstructions.

Team members stripping the set

Once the set was stripped and the rest of the cast were busy loading up furniture, screens, ladder and props into the vans my scenic crew, Stephanie and myself worked on painting the stage floor back to black. This took slightly longer than expected because the grey of the previous paint was still drying visible under the black, meaning we had to work on doing two coats at once. Due to the largeness of my team however we still finished before the get out time, giving us time to clean up our equipment, finish loading and leave.

Brief Overview:

The get out ran very smoothly and very quickly due to my team members and my own organisation. It also ran this smoothly due to the whole cast and crew being willing to help us strip the set and load up the vans.

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Production Week Day 5: 06/02/15

Production week Friday day 5 followed another evening performance of the show. By this point there was little left to do as everything was in place and running smoothly. I did however still check in before performances to make sure the poppy drop was set up and that nothing on the set had come out of place. I also checked the screens, making sure they were still moving properly and that the gauze sections on the bottom were not over stretching and sagging under the heat of the lights. 

I was in frequent contact with the projection and lighting designer / projection technician, meeting her at the theatre in the projection room to talk about how the projections were going and if she felt anything needed altering.

I felt as my job by this point was done I wanted to support and liaise with Stephanie often who had to operate the projections throughout every performance. We both found it interesting to discuss our progress and get updates from each others side of the show. 

Afterwards I watched the show, mainly to enjoy the work we had all created together but to also check for any issues regarding set that could arise from wear and tear. For example after one performance it was clear a scaffold clamp was becoming very loose, this was a concern as the cast would not feel safe or stable on the platform when having to do such a wide range of movement. To fix this the main set builder / production manager was able to fit the board back into place. 

Brief Overview:

Everything was running smoothly with the performance and only minor neatening and fixing was needed to the set.

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Documenting the Final Structure

Upper Bridge Level

This is the finished result of the upper bridge level, I decided to keep the scaffold boards on show as they had a more raw aesthetic than the mdf we had ordered. Lighting was rigged throughout the front of the structure so individual sections could be lit up.

Double guard rail at front and back of the structure. Below shows the back of the structure with kick board. 

Get offs - scaffolding stairs

The gets off's were a simple scaffolding tread structure. I found however lots of poles jutted out from them, this was concerning as the cast often did not use the specified routes around the set despite me attempting to block off potential entrances and exits that were not to be used. For extra caution we used thick wads of left over mono-flex and duct tape and heavily padded all clamps and poles that could come into contact and injure the cast and crew.

Above is the stage left get off that comes off from the back of the structure rather than the side like I had designed in the original model. This layout proved more effective as it kept the needed wing space on stage left, whilst running the get off's straight behind the back drop of masking where the costume girls were stationed to allow for quick costume changes and entrances.

Stage right wing

Behind the back drop of masking

From the start of the 'Earthquakes' project I had decided to have my set as far downstage as possible to create a set that was quite confrontational to the audience. This worked quite well with my other plans to have a back drop of masking quite close behind the set leaving space at the back of the stage that cast and crew could use for quicker routes around the wings and entrances and exits rather than using the corridor system which i feel would not have worked with the extremely fast pace of the script. This went on to work even further with the needs of the costume girls. I understood they would have a large amount of costumes on rails, and with each actor playing a variety characters I understood there would be quick costume changes. I decided to dedicate the back of the stage area to the costume supervisors and dressers. Here the second a character left the get off's, they could be quick changed immediately. I feel this design set up as anticipated really helped with the quick 30 second changes many of the cast had to deal with and I understand the costume supervisors were very appreciative for this space.

Stage left wing - props area

Lighting set up

Booms at the sides of the wings allowed a harsh flow of light to hit ground floor performance areas.

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Production Week Day 4: 05/02/15

By Thursday, production week day 4 there was nothing left to do on the set unlike I had anticipated as we had ran so ahead of schedule with the dressing and finishing touches such as gauze and poppy drop.

Arriving at the lighthouse early morning I checked over the set again making sure all was in place ready for the dress run / first audience viewing of the performance. I then continued to watch the performance to check for any problems.

The dress run went really well, with only minor slip ups in screen movements and staging and the set appeared to be working fine with no major issues needing attending to, only minor neatening needed to be made to try make the set finish as perfect as possible. After the show I did one more check around the set and made sure the poppy drop being being re-set up ready for opening night.

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Photos from ‘Earthquakes in London’ AUB Face Book page. Taken by Elisabeth Bratreit.

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Photo from ‘Earthquakes in London’ AUB Face Book page. Filmed by Elisabeth Bratreit.

Opening Night