When I direct a play, normally I also design the set ...
Well, that's not exactly true. I can't remember a show I've directed where I didn't also design the set - at the very least in rough form.
But then, I wasn't supposed to be directing INHERIT THE WIND in the first place. A friend of mine was supposed to get the job, I had just finishing directing a play for another theatre, I'm (in theory) writing a play for a contest, blah blah blah, lots of reasons why I took only a passive interest in the physical design for the production.
So when the directing offer came my way (long and largely uninteresting story for another day), I was somewhat disquieted to learn the design of the set had already been assigned to someone who's artistic subtlety I only marginally admired.
It wasn't that the man was a bad designer - he was actually quite good ... in his own way. But his work, to me, is normally very heavy and massive in appearance. (Not that I optioned for something light and airy, but ... you know what I mean.)
So I was somewhat less than thrilled ...
But I saw the finished design on paper. It was the mirror image (for some reason) of the very rough sketch I had first discussed with my friend. Construction followed, and the revised design proved to be quite practical. I liked stomping around on it. Levels. I like levels.
And then the painting started.
Red? A red courtroom? Red?
And then ...
Maybe this won't be so bad after all.
On my own, with all of my falls.
3 years ago