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THE DESIGN AND SUPERVISION OF THE SETTINGS
FOR A PRODUCTION OF NORA MACALVAY'S

BEAUTY AND THE BEAST

BY

Robert Louis Winters

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Speech

1962

ABSTRACT
THE DESIGN AND SUPERVISION OF THE SETTINGS
FOR A PRODUCTION OF NORA MACALVAY'S

BEAUTY AND THE BEAST

by Robert Louis Winters

The purpose of this study is to record a method of
designing the settings and lighting for Nora MacAlvay's
Beauty and the Beast and to trace the supervision of the
execution of these designs for this play as it was pro-
duced on February 3 and 4, 1962 in Fairchild Auditorium
by the Department of Speech at Michigan State University.
It includes a discussion of the historical research, the
design, the problems found in executing the design and
the lighting, as well as a discussion of new techniques
evolved in the process of the execution.

This thesis is divided into an introduction and
three parts. The introduction has to do with the purpose
and limitations of the study as well as its organization.
The first part is divided into two chapters, the first
dealing with the requirements found in the script,
those given by the director, and a discus51on of the
historical period involved. The second Chapter of Part

I is concerned with the actual designs for the production

Robert Louis Winters

and includes the floor plan, pictures of the rendering
and model, and the light plot and instrument schedule.
Part II is divided into three chapters and deals
with the construction of the scenery, the techniques
used in painting the scenery and the set-up and running
of the production. Part III is an attempt to evaluate
the validity of the design of the setting and lighting
and to suggest other ways in which the setting and
lighting could have been designed if the conditions

under which the play was produced had been different.

/ ,’ ’-
Approved/i [£37 ~'/.///» £5 «{Q?Z€(I~.—~

ACKNOWLEDGEMENTS

The writer of this thesis wishes to express his
appreciation to Mr. Edward Andreasen and Mr. Frank C.
Rutledge for their guidance throughout the process of
preparing this thesis. Appreciation is also extended to
Mr. Anthony Collins and to Mr. Jack A. Byers for their
help.

This project would not have been possible without
the help of the gentlemen listed above and the other
members of the technical staff of the Michigan State
University Theatre. This writer wishes to thank these
people as well as the many students who contributed

their time and effort to the success of this production.

ii

 

ACKNOWLEDGMENTS . .

TABLE OF CONTENTS .

LIST OF FIGURES . .

INTRODUCTION . . .

PART I. THE DESIGN

Chapter

Problems Concerning the Auditorium

Chapter II. The Design of the Setting
and Lights . . . . .
The Ground Plan

I. Considerations Preliminary to the

TABLE OF CONTENTS

Design of the Setting

Historical Background

Application to the Design

Set Pieces and Special Effects
Required by the Script

The Adaptation of the Script

The Model
Detail Drawings
Three—Dimensional Elements
The Color Rendering

The Light Plot and Instrument Schedule

PART II. THE EXECUTION OF THE DESIGN

Chapter

The
The
The
The
The
The

I. The Construction of the
Setting . . . . . . .

Platforms

Flats
Fountain

Three-Dimensional Elements

Properties
Flash Pots

iii

Page
ii

iii

l6
l7
18

21
24
3O
33
36
52
52

63

64
64
65
74
77
84
87

Chapter

The
The

The Three—Dimensional Elements
The Properties
Chapter III. The Set—up and Running
of the Show . . . . . .
PART III. EVALUATION . . . . . . . . o o
The Setting
The Lighting
BIBLIOGRAPHY . . . . . . . . . . . . . . . .

II. The Painting of the Setting .
Walls
Platforms and the Fountain

iv

0

Page
92
92
95
97
98
99

104

105

110

112

LIST OF‘ FIGURES

Figure Page

1. Italian Renaissance Window

Decorative Motif . . . . . . . . . . . . l4

2. The Ground Plan . . . . . . . . . . . . . 22
3. Front View of the Fountain . . . . . . . . 26
4. The Model (front View) . . . . . . . . . . 31
5. The Model (top View) . . . . . . . . . . . 34
6. The Front Elevation . . . . . . . . . . . 37
7. The Magic Mirror . . . . . . . . . . . . . 39
8. Production Picture of the Setting . . . . 41
9. The Grotesque Mask . . . . . . . . . . . . 44
10. The Magic Picture Frame . . . . . . . . . 47
11. The Rose Bush . . . . . . . . . . . . . . 50
12. The Color Rendering . . . . . . . .... . 53
l3.TheLightPlot.............. 56
14:. Instrument Schedule . . . . . . . . . . . 58
155. Dimmer Board Layout . . . . . . . . . . . 6O
16. The Platform Detail . . . . . . . . . 66
17'. The Magic Mirror (curtain open) . . . . . 7O
153. Front Elevation (backing flats? . . . . . 72
19. The Fountain Detail . . . . . . . . . . . 75
2C). The Interior of the Fountain . . . . . . . 78
21. The List of Properties . . . . . , . . . . 85
22. The Candelabra . . . . . . . . . . J - . . 88
23. A Copy of the Program . . . . . . . . H . 102

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INTRODUCTION

Thegpurpose of the study and limitations. The -
Lnxrpose of this study is to record a method of design-
iJng the settings and lighting for Nora MacAlvayis
Beauty and the Beast and to trace the supervision of
'Une execution of these designs for the play as it was
produced on February 3 and 4, 1962 in Fairchild Theatre
In; the Department of Speech at Michigan State University.
It includes a discussion of the historical research, the
chesign, the problems found in executing the design and
lighting, as well as a discussion of new techniques
eVOlved in the process of the execution.

{The play was considered to be sufficient to merit a
desisgn thesis because of the technical problems unique
to tluis particular play script, and the practical prob—
lems, involved in producing the play as it was done.
TIhis thesis does not take into consideration the
Selection or supervision of the sound. It also does
luyt deal with the design and execution of the costumes.

The sound was selected and supervised by the director.

Mr, Jack A. Byers, while the costumes were designed

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and executed by Miss Phelia C. Rutledge for her Master“s
Thesis. Mention must also be made of the assistance
provided by the staff of the Michigan State University

in the construction and execution phases of the project.

PART I. THE DESIGN

the

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CHAPTER I

CONSIDERATIONS PRELIMINARY TO THE DESIGN

OF THE SETTING AND LIGHTS

The first step in an attempt to design a setting

1

for any play is a careful examination of the play and a
careful examination of the play script. Set pieces,
special effects, and the style and historical period of
the play must be carefully noted as well as any other
requirements made in the script. A list of these
requirements is made and a meeting is arranged with the
director. The purpose of this meeting is to determine
the director's interpretation of the script as it effects
the design of the scenery. This is exactly the procedure
that was followed by the designer in approaching the
design of the setting and lights for this production.

Style and historical period of the play are among the
first factors to be determined with the director. Mr.
Byers suggested that the setting should give the appears
ance of a very old, mysterious, secret palace which
could only be found in “never-never” land. He felt that
it should be simplified and yet have a “lashness“ and

4

tenant
quall1
Antoi:

Pr1nc<

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n
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fact:

"diffusion" of color and shapes to give the play a definite
romantic tone. He wanted as well to emphasize the comic
quality as expressed in the characters Renard and
Antoinette as well as the masculine qualities of the
Prince, thus avoiding, to some extent, the extreme delim
cacy found in some fairy tales.

The period between 1490 and 1510, a transitional
period of history containing elements of the Romanesque.
Gothic, and the early Italian Renaissance, was chosen as
a basis for the historical setting of the play. The
factors which lead to this decision were based upon the
idea that this period would give both the costume
designer and the set designer ample freedom in creating
their designs and, at the same time. provide the remote

and romantic qualities desired by the director.
Historical Background

"During the Dugento and the Trecento, and well into
1 . . .
the Quattrocento, the Gothic style of architecture pre-
vailed, modified by climatic conditions and by the ten-

acity of the Romanesque because of its peculiar suitability

 

Thirteenth. Fourteenth. and Fifteenth centuries.

9—.
r7“

0 I
0

city
decrs
zen h

Lorer

to Italy."2 In 1401, however, a contest was held in the
city of Florence to pick an artist who would design the
doors of the Baptistery of that city. The works of two
men were chosen for the final stage of the contest;
Lorenzo Ghiberti, who won the competition, and Filippo
Brunellesco di Brunilleschi, who became so unhappy about
losing that he went to Rome with a young sculptor named
Donatello to try to find success in a field where his
supremacy would be unchallenged.3 While in Rome,
Brunellesco became extremely interested in the examples
of Roman architecture that were still standing, and had
survived the ravages of the Middle Ages. He then
returned to Florence and, applying the knowledge he had
gained from his research in Rome, designed a dome over
the crossing of the cathedral of that city. This Dome
and the Pazzi Chapel, which he designed for one of the
leading families of Florence, shows a combination of

. . 4 . .
class1c and medieval structural methods. He is said

 

2Helen Gardner, Art Through the Ages (New York:
Harcourt Brace and Co., 1936), p. 343.

3David M. Robb and J. J. Garrison, Art in the
western WOrld (New York: Harper and Brothers, 1942),
p. 183.

 

41bid., p. 185.

“to hat;

the goc

"to have been animated by a desire 'to restore to light
the good manner of architecture,‘ meaning the classic."5
"As a result of this new interest in classical remains,
the architects began to introduce into their buildings
classical motifs, cornices, and horizontal moldings, and
thus freely intermingled the old and the new with a
freshness and at times a daring that are indicative of
the free attitude of the early Renaissance."6 To under—
stand the "free attitude of the early Renaissance,” the
geographic position, economic situation, and the artistic
temperament of the Italian people must be taken into
consideration.

During the middle ages the villages and towns in
Italy began to develop differently than their counter-
parts to the north. Northern Europe became organized into
small units controlled by feudal lords and was primarily
an agrarian civilization. This feudal aristocracy, which
was found in France, England, and Germany, was never as
powerful in Italy where civil states called communes

developed. These communes, which were similar to the

 

5Ibid., p. 189.

6Gardner, op. cit., p. 344.

city—states of classic Greece, were governed by individuals
or families from the merchant class who owed their author-
ity, at least to some extent, to the free choice of the
communes themselves.7 The importance of the merchant
class in Italy is explained by the fact that many of the
cities, Florence, Venice, Milan, and Pisa among them,
owed their development to the importance of manufacturing,
banking, and trading facilities which came into being
because most of the routes for trading with the East and
the routes taken by the religious pilgrims and the Cru—
saders ran through that country.

Aside from the political and economic, there are
other factors that must be considered as being important
to the "free attitude of the early Renaissance.” During
the Middle Ages the feudal society was held together by
the Catholic Church and by feudal law. "At all times the
majority of men, including the most bloodstained baron,
accepted unquestioningly the superior merits of the reli-
gious life; the liturgical worship of God and the con-

templation of the spirit, by which man subordinated his

 

7Robb and Garrison, op. cit., p. 179.

8Ibid.

a
r.

A.

nature and exorcised his desires, became a social ideal."
The ultimate architectural expression of the medieval
religious attitude is found in the design and construc-
‘tion of the Gothic Cathedrals. Abbot Sugar, the abbot

(3f the monastery of Saint-Denis and a key figure in the
<ievelopment of Gothic Architecture in the twelfth century,

vvrote,

When the house of God, many colored as the
radiance of precious jewels, called me from the cares
of this world then holy meditation led my mind to
thoughts of piety, exalting my soul from the material
to the immaterial and I seemed to find myself, as it
were, in some strange part of the universe which was
neither wholly of the baseness of the earth, nor
wholly of the serenity of heaven, but by the grace
of God I seemed lifted in a mystic manner from this
lower toward that upper sphere.lo

During the early Renaissance, however, thought was
<iirected toward more material values and away from the
Eibstract and spiritual ones of the medieval culture. Man
<3nce again considered his own inherent dignity. "It was
in the Renaissance that an objectively analytical point
<3f View toward nature is found for the first time; and as

the most important institution therein. man once more

¥

9 . . .
The Horizon Book of the Renaissance (New York:

American Heritage Publishing Co., 1961), p. 12.

0 .
l Robb and Garrison, op. cit., p. 178.

10

became the focal point of human interest rather than
being reduced to the status of a cog in a theological
machine."

This shift of attitude is seen, in architecture, in
the number of non-religious buildings of monumental
scale that were constructed beginning with the 14th and
15th centuries. The buildings which came into prominence
in the Renaissance were the great Palaces of families
such as the Medici, Ruccelai, Vendramini, and the
large municipal palaces. A further aspect of the hu-
manistic thought of that time was the importance of the
creators of the palaces. The architect built in the
Renaissance not for the glory of God or the state, but
for his own glory, to win honor for himself and to place
his own name in history.12 A successful architect could
also hope to gain a large amount of money and encourage-
ment for his work as shown by the large number of com-
‘missions which were given for various structures of a
secular nature, and the interest that was generated in

the people as these commissions were completed.

 

1
lIbid., p. 181.

lZIbid., pp. 179-83.

11

The classical heritage of the Italian people must also
be considered an important factor in the early Renaissance.
"Even in the most barbarous times, cultivated Italians
never forgot the great traditions of their imperial
past nor their splendid achievements in literature."

The architecture of Rome was studied by Brunellesco and
his followers. Many of the principles of construction
and decoration which were re-discovered were applied to
the Renaissance architecture. This is not to say that
the Renaissance architecture is merely a copy of the
Roman but rather that a manner of applying classical
principles was employed that was basically different from
that of the Roman architects. The basis for this differ—
ence lies in the background of ideas and thought that was

present during the early Renaissance.

Application to the Design
Certain elements of decoration and construction make
it possible to identify early Italian Renaissance archi~

tecture. The treatment of the surface of the exterior of

 

3 . .
Horizon, op. c1t., p. 17.

14
Robb and Garrison, pp. cip., p. 182.

 

'(3

fr;

Flu

12

a building was often one of these factors. The Medici-
Riccardi Palace is one of the many buildings from this
period which are resticated on the outer wall surface,
that is, the three levels of the building are distin-
guished by varied surface treatments. On the ground
story the stones are massively irregular; whereas, on
the second story they are smooth-faced throughout.15
Another style of decoration for the exterior of build—
ings involves the use of stucco wall enclosed with
pilasters which form panels. This style of decoration,
which can be seen in the design of the exterior of the
Pazzi Chapel in Florence, is in the classic tradition.l6
A third style of decoration was chosen by the designer
for use in the treatment of the walls for this setting.
This style, which was used during the classical Roman,
the Romanesque, and the Gothic periods, as well as the
Renaissance, was chiefly characterized by lavish use of
.colored marble. The Cathedral of Florence, begun in
1296 and finished in 1461, was partially done in this

style.17

 

15 , _
Ibid., p. 191° l6Ibid., p. 187.

l71bid., p. 183.

 

13

Other elements which identify early Italian
Renaissance architecture are the cornices, mouldings,
and stringcourses which created a horizontal emphasis
in many of the buildings. Colonnade arches and vaulted
porticos are also found in common usage in many of the
designs from this period. Many of these elements were
derived directly from the classical Roman style.18

A common treatment of windows during this period is
shown in Figure 1. This treatment involved a semi-
circular arch which contained a window that was divided
into two lights by a central mullion. Sometimes, how-
ever, a rectangular window with a pediment was placed
within the arch, although this was more peculiar to
the latter part of the Renaissance.

The window treatment shown in Figure l was the
decorative motif that was chosen by the designer for use
in this setting. It was felt by the designer that the

use of this motif, colored marble, the horizontal line

of the different levels, and certain other elements,

 

Figure l

ITALIAN RENAISSANCE WINDOW DECORATIVE MOTIF
(Medici-Riccardi Palace, Florence)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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l6

taken from the early Renaissance period, such as the
Dante chairs and the eagle motif would serve to give the

setting the flavor of that period.

Set Pieces and Special Effects
Required by the Script

The following is a list of set pieces required by
the script.

2 doors one of which has a practical shutter

1 magic mirror through which can be seen the
interior of Beauty's house

1 magic picture frame with doors that open and
close magically showing a picture of the Prince

1 large rose bush

1 fountain

2 throne chairs

candle and candleholders

The special effects required by the script are
listed below.

Magical opening of the picture frame doors over
the Prince's portrait

Tinkle of magic bells when the Godmother appears
and when the picture frame doors open

The Beast must change back into the Prince
onstage

Magical appearances of the Godmother on three
occasions

Beauty must be able to disappear from the stage
and appear in the magic mirror in an instant

There are a number of flashes of light required
by the script in connection with the magical
tricks

17

The Adaptation of the Script

The director decided early in his consideration of
this script that there would be two things that he would
change in the actual script itself. The first change
was merely the addition of two Pages who appeared in
front of the act curtain before the beginning of the
first act and welcomed the audience to the production.
These Pages were also used as part of the crowd during
the final scene of the play.

The problem of how to turn the Beast back into the
Prince onstage was of major importance not only to the
director in his consideration of how he would arrange
such an occurrence on the stage but also to the designer
in his consideration of how it could be accomplished
technically. The solution that Mr. Byers arrived at
involved rewriting the last scene of the play so that as
the Beast was dying, the lights would gradually fade
down in intensity. By the time that Beauty made her
entrance searching for the Beast, the lights were com-
pletely out. This provided the actor ample time and
opportunity to discard the mask and paws that were part
of the Beast costume without being seen. Beauty then

made her entrance using candles to light her way, found

18

the Beast and told him that she would marry him, and the
lights came back on showing the Prince restored to his

original form.

Problems Concerning the Auditorium

The original plan was to present this play, under
the sponsorship of the Department of Speech, on the
weekend of February 3-4, 1962 in the auditorium of one
of the high school buildings in East Lansing. The audi—
toriums of the two schools selected, East Lansing High
School and East Lansing Junior High School were found,
however, to be inadequate ikm'this production, unavail-
able, or both. It was decided, then, that it would be
advisable to use the Fairchild Auditorium on the Michigan
State University Campus. The Business Manager of the
University Theatre was notified of this and he was able
to obtain the use of this auditorium for the production
of the play, however, certain requirements were made by
the University which effected the design of the scenery
and lighting.

The Fairchild Auditorium had been committed by the
University to a convention from January 29th through

February 2nd. This meant that the stage would not be free

19

to set-up the production until sometime late in the
afternoon the day before the play was to open. The term
set-up means "the process of placing the set on stage,
mounting and focusing the lights, and dressing the stage
with properties.” Although, it can refer to any one of
these three processes.

It also meant that any rehearsal that the director
desired on the stage would have to take place sometime
Friday evening or Saturday morning, thus reducing even
more the time that would be available for the set-up of
the production. Another consideration that was brought
on by the convention was that, due to the location of
the shop area beneath the stage, it would not be possi-
ble to do any construction or any work on the scenery
that would make noise during the week that they were
meeting. At the same time, due to the fact that the
classes for Winter Term were not scheduled to begin until
~ Friday, January 5th, construction on the scenery would
not begin, in earnest, until Monday, January 8th.

The significance of all these requirements was that

the setting for this production had to be designed so

 

20 .
John Gassner, ProduCing the Play (New York:

Dryden Press, 1955), p. 837.

20

that it could be completed, except for final assembly
which due to space limitations could not possibly take
place until the scenery was actually on the stage, in a
maximum of three weeks. It also meant that the setting
had to be designed so that it could be assembled in
less than eight hours, during which time the lighting
instruments also had to be mounted and focused. This
was necessary in order that there be time for a dress
rehearsal of the production Friday evening and another
Saturday morning, the only time that the cast would have
a chance to work on the stage before they opened Saturday
afternoon.

These requirements proved to be restricting, to
some extent, in planning the design of the setting and
lighting of the production. However, at the same time,
they proved to be a challenge to the designer's imagina-
tion as well as his ability to pre-plan thoroughly the
design of the setting and lighting and the execution of

the design.

CHAPTER II

THE DESIGN OF THE SETTING AND LIGHTING

The first step in the actual design of the setting
and lighting for Beauty and the Beast was the preparation
of a tentative ground plan. This would provide a direc-
tion for the designer to work in and, at the same time,
provide an idea of what amount of space would be avail-
able for the director to move his actors in. Four
ground plans were suggested by the designer before one
was found which suited both the designer and the direc-
tor's needs. The ground plan that was finally decided
upon is similar to the one which was actually used
(Figure 2), the difference is a slight rearrangement of
the fountain. '

While working out the ground plan, and considering
the sight lines of the auditorium in which the produc-
tion was to take place, certain decisions were made which
were important factors in the total design. It was
decided that it would be best to place the magic mirror
as close to the audience as possible so that it would be
possible for the audience to see the faces of the actors
in the scenes that took place in Beauty 5 house. It was

21

Figure 2

THE GROUND PLAN

 

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24

also decided that the design should provide acting areas
on different levels to provide the actors with the possi-
bility for variety in their movements. These levels also
served to give the setting the horizontal emphasis which

is common to early Italian Renaissance architecture.

The Ground Plan

The design of the ground plan (Figure 2) provided for
two basic levels of acting area aside from the area within
the magic mirror. The downstage area was the actual stage
floor while the upstage area, in front of the magic mir-
ror and continuing out both of the doors, was elevated
eighteen inches from the stage floor. A two step unit was
used so that the actors could move comfortably from the
stage level to the elevated level. This two step unit was
expanded on the stage left side and formed a platform upon
which the thrones were placed and over which the magic
picture frame hung. The intention was in this part of
the setting to combine the thrones, the magic mirror, and
the magic picture frame, symbols of the heritage of the
Prince, into one area.

The interior of the magic mirror or Beauty“s house

was elevated five inches higher than the upstage acting

25

area to attempt to aid the sight lines in the upstage
part of the interior and to help create the illusion that
the interior was being seen through a magic mirror. The
original intention was to make the interior a full six
inches higher; however, platforms were available in the
stock of scenery that was maintained by the University
Theatre which were five inches higher and it was decided
that this would be sufficient. The thirty—inch platform
upstage and to the stage right of the center line was
used as a place for the Godmother to make one of her
magical appearances. The flat in front of this was cov-
ered in the center with gauze which functioned as a scrim.
That is, this material was painted in such a manner that,
when the lights were focused on the Godmother behind it,
it became semi-transparent and what seemed to be a solid
wall faded away "magically.”

The rest of the platforms indicated on the ground plan
were used to carry the actors out of sight of the audience.
These platforms are marked as to their elevation.

The plan view of the fountain shows a variation of
the design motif mentioned before as being found in the
Italian Renaissance Palaces in the layout of the window.

The purpose of the design of this fountain (Figure 3) was

Figure 3

FRONT VIEW OF THE FOUNTAIN

 

 

28

to create levels for the actors to sit and stand on; to
create a practical fountain, that is, one that used
actual water; and, at the same time, one that appeared
to be an integral part of the courtyard. It was felt by
the designer that the variation of the Italian window
motif as shown in the floor plan and the front view not
only accomplished these aims but also provided a place
from which the rose bush could grow and a logical place
around which the bush could be draped and shown to its
best advantage. At the same time, the water, which
flowed from the eyes of the grotesque mask into the mouth
and from there into the basin of the fountain, furnished
a rather immediate spectacular effect, while not being
excessively noisy.

It was felt by the designer that the curved surfaces
of the fountain when combined with the curves in the door-
way and the magic mirror would aid in furnishing the sen-
suous and opulent qualities desired in the setting by the
director. The curves and arches were also intended to
break up the rectangular forms created by the elevated
acting areas and the basically rectangularly shaped walls

of the setting.

29

The upstage portion of the railing was thirty inches
above the upstage acting area level or a total of forty-
eight inches above the floor level. The downstage por—
tion of the railing was twenty-four inches above the
level of the stage floor. This railing served as trim
for the elevated platforms and the step unit as well as
aiding in framing the fountain. It also served as another
place to drape the rose bush as well as functioning as
masking for some of the flash pots. The downstage edge
also proved useful as a place for the actors to sit.

On the ground plan there are two flats marked "Flat
Hinged." In both cases the arrows point to the side on
which they were hinged. The downstage left hinged flat
was designed in this manner to provide the Godmother with
a way to make one of her magical appearances. The upstage
center hinged flat was basically used as masking behind
the stage center door and was designed in this manner to
aid in making it possible for Beauty to disappear from
the Prince's palace and appear in her house in the magic

mirror in a matter of seconds.

30

The Model

At the same time that the floor plan was being worked
out, a scale model of the floor plan and eventually of
the setting was started. This scale model (Figure 4)
was used to achieve an accurate idea of how the different
elements of the setting would look in relation to each
other. The material used to construct this model con-
sisted of a twelve inch by eighteen inch piece of one-
quarter inch plywood, some cardboard of the type used by
commercial shirt laundries, airplane and Elmer's glue,
and spackling compound. The one-quarter inch plywood
was used as the base for the model, while the cardboard
was used to form the basic shapes. The two kinds of glue
were used to adhere the cardboard and to keep it in the
desired shape. The spackling compound was used to give
the cardboard a finished surface, so that the printed
matter would not be distracting; and to build up the
small three-dimensional elements such as the plaque over
the magic mirror, the magic picture frame, and the gro-
tesque mask in the fountain. Due to the plastic nature

of this material, it was very useful in attempting to

Figure 4

The Model (front view)

 

 

 

1'-

 

q.--

 

 

33

arrive at designs for these various three-dimensional
elements.

This model also shows the arrangement of the plat-
forms upstage of the main part of the set (Figure 5).
This was done not only to aid in the planning of the set
but alSo to make it easier for the actors and the direc-
tor to visualize the areas that they would be working
with.

The model, then, served not only as an aid in the
actual process of designing the setting, but also as an
instrument which was used to help the cast become famil-
iar with the setting. A setting that they would not
get a chance to actually work with until the evening

before the performance.

Detail Drawings
Figure 6, which is Sheet #3 of the detail drawings,
provides an accurate picture of the magic mirror and the
two doorways. The design of the magic mirror can be
easily traced to its source, the Italian Renaissance
motif previously mentioned; while the design of the
doorways, though very liberal in the adaptation of the

motif, still maintains enough of the flavor of the

Figure 5

The Model (top View)

 

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36

original to seem part of the same room as the mirror
and the fountain. The magic mirror may also be seen in
Figure 7 which is a detail photograph of the finished
product. The mirror and the doorways may be seen in
their proper relationship to the rest of the setting in
Figure 8 which is a photograph of the completed setting.
The interior of the mirror was merely three walls
with an entrance doorway in the upstage wall. This
doorway was on the stage right side so that Beauty's
quick entrance, as previously discussed, could be made.
This setting was supposed to be the house of a very
poor merchant,and, consequently, plain. It, therefore,
consisted of only walls, a doorway, a few shelves, a

table, and several chairs.

The Three-Dimensional Elements
For purposes of clarity and convenience, the gro—
tesque mask, the magic picture frame, the thrones, the
plaque over the mirror, the candleholders, and the magic
rose bush will all be grouped together in this thesis
and considered as three-dimensional elements of the

design.

Figure 6

THE FRONT ELEVATI ON

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Figure 7

THE MAG IC MIRROR

 

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Figure 8

PRODUCTION PICTURE OF THE SETTING

 

 

 

 

 

 

43

The design for the grotesque mask part of the foun-
tain (Figure 9) was influenced by twoprinciple consid-
erations, the available space and the desire, on the part
of the designer, to be able to see real water flowing in
the fountain. The design is derived from a type of gro-
tesque mask that was used in the Italian Renaissance
period for decoration, although, this form was originally
used by the actors in the Roman Mimes. Modifications
were made in the original with a great deal of freedom
so that the spectacular effect of water flowing from the
eyes of the mask into the mouth and from there falling
into the main pool could be accomplished within the
space that was available. The ominous quality of the
mask was also successful in helping to give the setting
a certain mystical quality which was desired by the
director and the designer.

While considering the design of the magic picture
frame as called for in the script, it was decided that
an attempt should be made to combine this element with a
royal crest of the kingdom. This was done to help moti-
vate the existence of the magic picture frame. This
arrangement also provided a surprise when the seemingly

solid sections of the plaque opened.

Figure 9

THE GROTESQUE MASK

 

 

46

The eagle, a form used by the Guelph party of ren-
aissance Italy as a symbol,21 was decided upon as the
heraldic emblem of the kingdom. This was done to add
color and excitement to the design of the setting and to
provide a masculinity in the main courtyard of the
Prince's palace. The magic picture frame hung on the
wall over the thrones (Figure 10). It consisted of a
large eagle, in relief, which seemed to be grasping
the top of an open book on which a motto was inscribed.
The sides of this book were actually the doors of the
magic picture frame. The plaque upon which these ele-
ments were mounted was in the shape of-a type of shield
which was used as a decorative motif during the Italian
Renaissance period. The doors of the magic picture
frame were rigged to open "as if by magic" by someone
behind the set. The mechanical process used to accom-
plish this will be described in Part II of this thesis
in the section dealing with the construction of the
three-dimensional elements.

The thrones were Dante chairs, common to the his-

torical period selected.22 (Figure 10.) They were

 

l . .
Horizon, op. c1t., p. 42.

22
Robb and Garrison, op. cit., p. 933°

Figure 10

THE MAGIC PICTURE FRAME

 

 

 

 

 

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49

modified somewhat to fit the limitations of space and to
suit the circumstances. They also bore the royal symbol,
the eagle, and served, by their design and color, to aid
in lending a certain importance and responsibility to
the position of the Prince.

The plaque over the magic mirror (Figure 7) consisted
of a repetition of the eagle form, in relief, and served
to reiterate the idea of the combination of royal and
magical powers.

The rose bush (Figure 11) was thought of, by the
designer, as a very large, full, creeping vine type of
bush. It was designed to be attached to the flats,
fountain, railing, and other elements in an attempt to
provide a rose bush of rare beauty and great magical
power.

The sconce on stage right (Figure 8) was another
repetition of the eagle form. This motif was used in
the same form in the design of the magic picture frame,
the plaque over the mirror, the thrones, and the sconce
to help unify the design of the setting. The sconce
held two candles, each one mounted on the top part of

the eagle's wings.

Figure ll

THE ROSE BUSH

 

 

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52

The Color Rendering

The color rendering (Figure 12) was done to aid in
the process of arriving at a suitable color scheme for
the setting. It was felt that the colors used in the
setting should give the impression of wealth and royalty,
and at the same time, create a certain mysterious beauty.
The various shades of blue when mixed with the gold
(raw sienna), the black, and the bright red and green
of the rose bush, were intended to give these impres-
sions while also providing a pleasant, if romantic,
background for the costumes and the action of the play.

The interior of the Mirror was designed with an
entirely different color scheme than the Prince's court-
yard. The scene was supposed to be the interior of a
.poor man's house so earth colors, common to such a
dwelling, were used. A mustard color was used as the
loase paint and was textured with dark and light shades
<9f brown in an attempt to make the surface of the walls

zippear to be finished with a rough stucco texture.

The Light Plot and Instrument Schedule
There were two main factors that had to be considered

in the design of the lighting for this production. The

Figure 12

THE COLOR RENDERING

 

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55

amount of time that was available to hang and focus the
lighting instruments and the fact that the light crew
would have only two rehearsals to practice their part of
the production made necessary a simplified lighting
design utilizing a minimum of instruments and only those
lighting effects which were absolutely essential to the
successful production of the play.

For the purposes of the lighting design, the set-
ting was divided into five major areas, as indicated on
the light plot (Figure 13), and the interior of the
mirror. The design calls for instruments to cover
these areas and for "special" instruments to be used to
fill in areas not covered by the five major area's
instruments. There were also a few instruments hung
to light the interior of the thirty inch platform, the
backing flats, and for the special effects.

The position, type, use, wattage, dimmer number,
circuit number, and color filter of each of the instru—
ments which were used may be found in the light plot
and the instrument schedule (Figure 14). The layout of
the dimmer board, according to the number of each of

the instruments, may be found in Figure 15. The color

Figure 13

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62

filters used were chosen because it was felt, by the
designer, that they would be able to enhance the setting
and costumes, and still provide enough illumination for

the actors to be seen.

PART II. THE EXECUTION OF THE DESIGN

CHAPTER I

THE CONSTRUCTION OF THE SETTING

In the process of designing this set, the designer
made every effort to use scenic elements that were
available in the stock of the University Theatre. This
was done for two reasons, to attempt to save time in
construction, and to attempt to keep the production
expenses at a minimum. The small amount of time that
was available for set-up also was a factor not only in
the design of the scenery but also in the manner in
which it was constructed. At all times, there was an
attempt made to construct the scenery so that it could
be assembled on the stage in the least amount of time

and with the least amount of trouble.

The Platforms
A large portion of the platforming that was used was
taken out of the stock maintained by the University
Theatre. Figure 16, which is Sheet #2 of the detail
drawings, is a detail of the level assembly and shows
which of the platforms were built and which were taken

64

65

out of stock. Those platforms and stairs that were
built were constructed by merely cutting a section of
three-quarter inch plywood to the size indicated on the
drawing and "legging it up” with supports to the speci—
fied height. Sections A-3, B—1, and C-1 were made
separately from sections A-4, B-2, and C-2 and kept
that way until they were moved up onto the stage the
evening of the set—up. This was done to make it easier
to handle them during set-up and while they were still
in the shop. D-1 and D-2 were joined together in the
shop while they were being constructed. It was felt
that they could be most efficiently handled as a single
unit.

The method used to join the platforms on the stage
during the actual set-up involved the use of C-clamps.
The University Theatre had a supply sufficient to make
this possible. They proved to be efficient both in

their ease of handling and their strength.

The Flats
Basically, the flats were also taken out of the
stock of the University Theatre. They had to be modified,

in some cases, to meet the requirements as far as length

Figure 16

THE PLATFORM DETAI L

 

 

 

 

 

 

 

 

 

 

 

 

 

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68

was concerned, however, this was accomplished by merely
adding sections to bring them to the right height.

The two doorways were made by laying out the shapes
of the arches, as indicated on the Front Elevation
(Figure 6) on one inch thick lumber, cutting them out,
and fastening them to the regular doorway flats which
had been taken out of stock. An eight inch thickness
was then fastened to the inner edge of the doorway,
creating an illusion of thickness in the walls. A door
was cut to fit the opening in the stage left opening
and hung with hinges, permitting it to open in the
manner shown on the ground plan (Figure 2).

The small scrim, used by the Godmother for one of
her appearances, was constructed by re-covering an old,
torn flat, using a heavy gauze material in the area
indicated on the drawing as the scrim part of the flat.

Mirror #1 and mirror #2 were made out of one-quarter
inch upson board, cut to the shape indicated on the
drawing (Figure 6), and mounted on a framework of one
inch by three inch lumber. Mirror #3 was made by
attaching a piece of regular scrim material to a frame-

work the size indicated on the drawing. The six inch

69

thickness indicated between mirror #1 and mirror #2

was made of upson board and served, with the aid of
lengths of lumber, to join the two sections. Mirror

#3 was also attached to the other sections with lengths
of lumber.

A tab or tableau type of curtain was hung between
mirror #2 and mirror #3 as indicated on the drawing. It
was made out of muslin that had been dyed rose color,
pressed, and hemmed. It was hung by stapling the
material, in folds, to the framework on the rear of
mirror #2. The gathering of material on either side
when the curtain was opened was accomplished by thread-
ing strings through pins attached to the back of the
curtain. The assembled mirror may be seen in Figure 7
in the closed position and in Figure 17 in the open
position.

The flats marked "Return" on Sheet #3 were used on
either side of the setting to mask the edges.

The flats on Sheet #4 (Figure 18) were taken from
stock with one exception, the door flat in the interior
of the mirror. This flat was constructed by taking a

standard four feet by twelve feet flat and adding to it

Figure 17

THE MAGIC MIRROR jcurtain open)

 

 

Figure 18

FRONT ELEVATION (backingLflats)

 

 

 

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74

a section to fill in the area over and stage right of
the door as indicated on the drawing.

The hinging of the backing flat behind the stage left
door has been discussed previously and is indicated on
this drawing. The stage right wall of the small scrim
is also indicated as being hinged on this drawing. This
was done to make it possible for the Godmother to get in

and out of this area.

The Fountain

Figure 19, which is Sheet #5 of the,detail drawings,
shows the manner in which the fountain was constructed.
First, the forms were made according to the drawing,
then the tops were cut, and finally they were joined
with Elmer's glue and one and one-half inch wood screws.
Facings were then cut out of upson board and fastened to
the front surfaces. The two inch thickness indicated in
the drawing as going around the front of the pool of the
fountain was also cut out of this material and was
attached to the eighteen inch level.

The center part of the fountain, where the water
.fell, was lined with plastic sheeting which was attached

1:0 the sides on the inside of the center part. This

 

Figure 19

THE FOUNTAI N DETAIL

 

 

 

 

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77

plastic was shaped into a funnel and caused the water
to flow into a bucket at the bottom of the fountain
interior (Figure 20). This bucket contained a recir-
culating pump which then forced the water back through
the fountain. The construction of the grotesque mask,
from which the water flowed, will be discussed in the
section dealing with the construction of the three-

dimensional elements.

The Three-Dimensional Elements

The grotesque mask part of the fountain (Figure 3)
was constructed by, first, roughly forming the shape
desired out of chicken wire, mounting this shape on
the piece of one-quarter inch plywood which served as
the back wall of the fountain interior, and then cov-
ering the chicken wire with a layer of Celastic, a
colloidal impregnated fabric which employs acetone as
a catalyst. The nature of Celastic also made it possi-
ble to build up the mask to the shape desired. After
the mask was shaped it was necessary to line the inside
of the eyes and the cup shaped part of the mouth with
a plastic resin which was then allowed to harden. This

was done to keep the water from soaking through the

Figure 20

THE INTERIOR OF THE FOUNTAIN

 

 

80

Celastic in these areas. The water coming out of the
mask originated from a hose which started at the recir-
culation pump in the bucket, came up behind the board
upon which the mask was mounted, through the top at the
back part of the mask, divided into two smaller hoses,
and then forced the water out through the eyes. The
pump was electrically powered and, consequently, did
not make any noise. It was also equipped with a lever
which made it possible to adjust the pressure of the
water.

The plaque or base part of the magic picture frame
(Figure 10) was constructed out of one-quarter inch ply-
wood and blocks of wood used as spacers. The edges were
covered with muslin to make them appear solid. The
doors of the magic picture frame were made out of one-
quarter inch plywood with chicken wire attached to it
forming the full rounded thickness. Muslin was also
used to cover the doors and was attached with a mixture
of wheat paste and Elmer's glue. Each of the doors was
hinged to the plaque and was affixed with an S-shaped
piece of strap iron which went through the plaque and

the flat to which it was attached and made it possible

81

for a stage hand to open the doors without being seen
by the audience.

The eagle on the magic picture frame was constructed
by, first, building up a rough form out of chicken wire,
attaching it to the plaque, and then building up the
rest of the figure with gauze which had been soaked in
a mixture of wheat paste, Elmer's glue, and water. As
far as is known at this time, this is a new technique
for building three-dimensional objects, it proved to be
a material that was easy to work with, light, and
extremely inexpensive. When allowed to dry sufficiently
(usually around twenty—four hours), the finished product
takes paint very well and has a texture which can be
controlled, to some extent, by the thickness of the
liquid solution used.

The magic picture frame was attached during the
actual set—up by means of bolts which fastened to the
framework of the flat from which it was suspended. It
was not attached before this time because it was felt
that it would make the flat top heavy and, consequently
hard to handle during the set—up.

Of the two thrones, one was taken from the University

Theatre stock of properties and furniture and was modified

82

somewhat to change its appearance. The other was built
to match the first. The materials used were one-quarter
inch and three—quarter inch plywood; one inch by three
inch lumber, and muslin. The eagles which were mounted
on these thrones were cut out of one-quarter inch ply-
wood and painted in such a fashion as to appear to be
three-dimensional. The finished thrones may also be
seen in Figure 10.

The plaque over the magic mirror (Figure 7) was
constructed much in the same manner as the magic pic-
ture frame. The base was made by cutting two pieces of
one-quarter inch plywood to the proper size and shape,
separating them with spacers made of thin strips of
wood, and covering the edges with strips of muslin. The
eagle was then built up out of gauze, wheat paste,
Elmer's glue, and water in the same manner mentioned
previously. Chicken wire was not used in this case
because the eagle was not built out from the plaque
more than two inches at any point. This plaque was
attached to mirror #2 by means of bolts through the
framework of that piece of scenery while it was still

in the shop area. It did not weigh very much so it was

83

felt that it would make very little difference in the
handling of the mirror during set-up.

The construction of the rose bush (Figure 11) was
aided considerably by the coincidence that, during the
recent holiday season, the makers of Kleenex Tissues
had decided to manufacture a special package which
contained red and green tissues. The roses, then, were
constructed out of these red tissues. They were held
together by paper clips and fastened to the vines with
pipe cleaners. The leaves were fashioned out of crepe
paper, the green tissues proved to be the wrong shade.
The vine itself was made out of four different widths
of rope which had been painted green. This made it
possible for the vine to grow thinner on some of the
longer branches.

As mentioned before, the rose bush was attached to
the scenery by staples. This was done after the rest
of the scenery had been set up on the stage. Although
the majority of the roses had been attached to the vine
prior to the set-up, quite a few were attached to the
vine after it had been stapled to the scenery. There

were also three roses which had to be picked from the

84

vine during each performance. Each of these had a
definite location and were attached very loosely so that
they could be plucked easily.

The sconce on stage right was cut out of a piece of
three-quarter inch plywood and painted to look three
dimensional. It was held away from the wall by a series
of wooden spacer blocks and was attached by means of
two bolts which fastened to the frame of the flat. The
candles were held in place by two blocks of wood which
had been drilled out so that the candles would fit
tight enough that there would be no danger of them fall-
ing over. These blocks of wood were attached to the

eagle with Elmer's glue.

The Properties
Figure 21 is a complete list of the properties that

were used for this production. Five of the items listed
had to be constructed; the Godmother's wand, the two
hula hoops, the small table, the candelabra, and the
crowns. The Godmother's wand and the crowns were con-
structed by the costumer, who considered them to be part
of the costumes. They are listed as properties, however,

because they were handled by the properties crew during

Figure 21

LIST OF PROPERTIES

l
l
1

ACT I

tambourine
ring
Godmother's magic wand

knitting, embroidery, and tea things
table and stools for Beauty's house

H

RJH‘F'H

ACT II
Scene I
hula hoops
small table
cushions
Scene II

 

trunk full of fine dresses

ACT III

rose (in Beauty's house)
vial

candelabra

crowns on pillows

87

the run of the show. The balance of the properties
listed in Figure 21 were selected from the stock of the
University Theatre and were not changed except for a
small amount of painting of the table and stools in
Beauty's house.

The hula hoops, which were used in a dance by the
two apes, were constructed in a manner which involved
pieces of plastic tubing cut to the desired length and
fastened by tacking the ends into a small block of wood
which had been wedged into the tubing. The small table
was made by simply cutting down an Old table to the
desired size and painting it. The candelabra (Figure
22) was made_by first cutting out a wooden form that was
roughly the shape desired; building it up to the proper
shape with a mixture of wheat paste, Elmer's glue,

water, and pulp asbestos; and then painting it.

The Flash Pots
It was decided by the designer and the director
that a minimum of six flash pots would be needed to
produce the flashes of smoke called for in the script.
The position of these flash pots, on the stage, can be

seen in Figure 13, the Light Plot. The flash pots on

Figure 22

THE CANDELABRA

 

.4

, ' ‘1' ”411$ng .

 

90

stage left were recessed into the platforms as were
those center stage. The flash pots on the stage right,
however, were mounted on a small ledge built into the
back of the railing. This was done so that the flash
could be seen from the audience.

The manner of construction of the flash pots con-

sisted of hollowing out a trough in the center of a two

 

inch by four inch by eight inch piece of lumber, lining i
the trough with asbestos, and running a bolt through
either end of the block. One strand, from a standard
piece of electrical cable, was attached to each of the
bolts. With the current off, a charge of flash powder
was placed in the asbestos trough, a thin wire was
attached to each Of the bolts and brought in contact
with the flash powder, and, finally, a heavy piece of
screen was placed over the trough. When the current
was turned on, the thin wire overheated and instantly
ignited the flash powder thus causing a flash and a
puff of smoke. The heavy wire screen kept any large
sparks from flying out onto the stage and prevented
the actors from stepping in the trough and breaking

the wire accidentally.

91

There was actually very little danger involved in
the use of these flash pots, the actors and the scenery
were kept a distance away from them. However, for
safety's sake, a stage hand was assigned to watch over
them, with a fire extinguisher handy when they were

set off. The fire extinguisher was not needed.

CHAPTER II
THE PAINTING OF THE SETTING

As mentioned previously, the color rendering (Figure
12) was used to arrive at a color scheme for the setting.
The differences, in color between the rendering and the
actual finished setting (Figure 8) were due, to some
extent, to the more elaborate texturing done on the
actual setting and not in the rendering; and the differ—
ence between watercolor, used on the rendering, and
casein paint which was used to paint the setting. The
only paint other than casein which was used to paint
the setting was a small amount of spar varnish which

was used to help waterproof parts of the fountain.

The Walls
The reason for employing the method of texturing and
painting that was used on the flats that formed the walls
of the palace courtyard was to attempt to give them a
marble-like appearance. This was done by first laying
in the base color desired; taking a rag, dipping it in
a lighter or darker shade of the same color, wringing it

92

93

out, and dropping it gently on the surface each time in
a different way; and finally, dropping a long string
which had been dipped in paint in various directions on
the surface being textured. The dropping of the rag
created the grain texture of the marble. The danger

to avoid in using this process is that, if the rag is
not dropped in a different manner each time, a pattern
will be formed that is undesirable. The string that is
used created the long streaks that are commonly found
in marble.

This process was used on the flats that were in the
upstage area, including the trim on the doors, and the
flats behind the thrones and surrounding the fountain.
Mirror #1 and mirror #2, as well as the thickness
between them were also painted in this manner. The
base coat on the downstage flats was the same as the
base coat on mirror #1 and was a medium shade of the
dark blue which was used as the base coat for the upstage
flats and mirror #2. In both cases a lighter and a
darker shade of the base was mixed and used as tex-
turing paint.

The painting of the small scrim flat had to be done

carefully to make sure that the paint would not fill up

94

the holes in the material making it impossible to see
through it. This was accomplished by using compressed
air to force the paint through the material instead of
letting it stand on the surface. This same technique
was used to paint the large scrim, mirror #3, a silver
gray color.

As mentioned previously, a mustard color was used
as the base coat for the interior of Beauty's house
while a chocolate and a light shade Of brown were used
for the texture. The process used to texture these
flats is known as ”scrumbling" and is described in
Burris~Meyer and Cole. ”Lay short brush strokes over
each other in all directions so that some strokes cover
other, some blend with others, and some remain visible."23
This technique gives the flats the appearance of rough
finished stone or stucco and was appropriate for the
interior of a poor merchant's house.

The moulding of the doorway of Beauty's house was

painted with a medium dark brown paint in such a fashion

as to make it appear three dimensional to the audience.

 

Harold Burris-Meyer and Edward C. Cole, Scenegy
for the Theatre (Boston: Little, Brown and Company, 1948),
p. 272.

95

The returns were painted a flat black as were the
flats that enclosed the platform behind the small scrim.
The backing flats behind the doorway in Beauty's house
were painted and textured in the same manner as the
flats in the interior of the house.

The door in the stage left arch was painted with a
base coat of very dark brown and dry brushed with black.
This gave the door the appearance of wood with the black

dry brushing appearing to be the grain of the wood.

The Platforms and the Fountain

The platforms in the courtyard and the fountain were
painted with a base coat that was a light shade of the
medium blue which was used as a base coat for the down
stage flats. The texturing paint consisted of a lighter
and a darker shade of the same base. The texturing
process used on these elements was much the same as
the process used on the flats which surrounded them. A
base coat was applied and a rag was used to achieve a
close grain texture. The string, however, was not used.
A fine spatter was applied to the surface of the plat—
forms and fountain. Some areas were also highlighted

and lowlighted by lining with a light or dark color and

96

spraying the paint, while it was still wet, with water,
causing it to run and collect in pools. This method of
texturing was applied in an attempt to make these ele-
ments appear to be made out of old rough cut stone that
had been weathered. The grotesque mask was painted
with basically the same colors as the rest of the foun-
tain, however, a great deal of lining and dry bushing
was applied to help emphasize the shape. A coat of
Spar varnish was then applied to the mask and to the
interior of the fountain to aid in protecting the paint
and the materials from the water.

The railing was treated in the same manner as the
flats which formed the downstage walls as were the
mouldings around the two doorways. The doorways, how-
ever, were then trimmed with a one inch wide area of a
very light shade of the base coat which followed the
inner and the outer contour of the arches.

The platform in the mirror was painted with a base
coat of dark brown and then dry brushed with black in
an attempt to create the illusion of a wooden floor.
The platform behind the small scrim was painted with a

flat black.

97

The Three—Dimensional Elements

The center base part of the magic picture frame was
painted a flat black as was the inside of the doors,
while the trim which ran around the edge and the outer
surface of the doors was painted a gray color. The
outer surface of the doors was also lined with some
raw sienna paint which was made to look like a golden
inscribed motto.

The eagles were painted with a base coat of raw
sienna and highlighted and lowlighted with a bright
yellow and black to give them a three-dimensional
quality. This was true of both the eagles which were
actually in relief and those that were flat.

The base of the plaque over the mirror was painted
with flat black as was the spacer block which held the
sconce eagle out from the flat.

The thrones were painted with a base coat of flat
black and then trimmed around the edges with a one-half
inch band of raw sienna. This made the thrones appear
to be trimmed in gold, and consequently, made them
colorful and regal looking.

As previously mentioned, the only part of the rose

bush which was painted was the vine itself. This was

98

painted a shade of green which matched the crepe paper
which was used for the leaves. This paint was applied
by dipping the vine into the paint bucket, a method
which proved to be more efficient than the brush. Most
of the pipe cleaners which were used as stems to hold
the roses to the vine were already green when they
were purchased, those few that were not, however, were

painted in the same manner as the vine.

The Properties

There was actually very little painting done on
the properties. The Godmother's wand was painted
bright yellow and sprinkled with metalic glitter while
the paint was wet. The table and stools for Beauty's
house were painted a medium dark brown and dry brushed
with black to give them a rough wood texture. The hula'
hoops were left the color of the original plastic while
the small table was painted and lined in the same man-
ner as the throne.

The candelabra was painted with a base coat of raw
sienna and textured with bright yellow and black. A few
areas of red and green paint were also placed on the

candelabra to simulate jewels.

CHAPTER III

THE SET-UP AND RUNNING OF THE SHOW

The set-up of the production began at two o'clock
in the afternoon on February the 2nd. By eight o'clock
that evening it was completed with the exception of
some focusing of the lights, which could not be done
until they were seen in the rehearsal of the play, and
some minor details of the setting. It was organized
so that two members of the technical staff of the Uni-
versity Theatre were responsible for the set-up of the
setting, a third for the properties, and a fourth for
the lighting and other electrical effects. The two
that were responsible for the setting, set up the plat-
forms, the flats, the mirror arrangement, the fountain,
and, finally, helped with the rose bush. The proper-
ties technician set up the properties and prepared them
for the dress rehearsal, supervised the placement of
the magic picture frame and the attachment of the sconce,
and then helped with the fountain and the mirror. The
lighting technician was responsible for hanging, cabling,

99

100

and focusing the lighting instruments. He was also
responsible for the placement and cabling of the flash
pots°

Before the day of the actual set-up, meetings were
held to explain to the members of the technical staff
exactly where their duties would consist of. They were
also assigned a number of student volunteers who had
chosen to help during the set-up of this production.

During the actual set—up, the first step was to lay
out the ground plan on the stage floor and mark it with
masking tape. While this was being done, the electrical
equipment was moved from the shop and the lighting
instruments were hung and cabled on the pipe. The plat-
forms were then brought from the shop, placed on the
stage, and clamped together. The fountain was also put
into position at this time.

While the platforms were being placed, the light
crew hung and roughly focused the instruments in the
beam position. They then returned to the stage and,
while the flats were being set in place, cabled the
flash pots.

After placing the platforms and fountain, the flats

were put in place by nailing them to each other and by

lOl

bracing them with stage braces. At this time, the
properties man was moving the props from the shop and
setting them up for the rehearsal. The mirror was

set in place and the lighting instruments were attached
to it and cabled as soon as it was possible. The small
instrument which lit the thirty inch platform was then
attached to the rear of the small scrim flat, cabled,
and focused as were the backing lights.

When all the flats were set in place and secured,
the magic picture frame and the sconce were bolted
into their respective places and work was begun on the
rose bush and the cabling of the fountain. The light-
ing instruments on the pipe were focused, also, imme-
diately after the flats were placed and secured, the
thrones were moved on stage and the furniture was
placed in Beauty's house. A few minor details were
then taken care of, and the set—up was complete.

The levels and cues for the lighting and the sound
were set during the dress rehearsals. The cues for the
properties crew, the stage crew, and for the flash pots
were also set at this time.

A list of the crews for this production may be found
in Figure 23, which is a copy of the program for this

production.

Figure 23

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PART I I I . EVALUATI ON

TI-IE SETTING

In terms of the requirements that were imposed by
the situation in which the production was given, the
design of the setting and lighting proved to be, gen-
erally, successful. The construction of the setting
was accomplished with relatively little difficulty, and
a minimum of expense, well within the amount of time
that was available. The set-up was successfully accom—
plished within the amount of time available. It was
executed exactly as planned.

During the performance, the magical effects, for
the most part, worked very well. The flash pots mis-
fired only twice during the run of the production,
both times in dress rehearsal. The scrims were suc-
cessful, although, a certain amount of extra work had
to be done with the lighting in.the small scrim to make
it work properly. The mechanics of the fountain worked
without any difficulty and, combined with the rose bush,
this element contributed a great deal to the setting in
the way of color and spectacle.

The Italian Renaissance window motif seemed to give
the setting the flavor of that period and at the same

105

106

time created a massive and distant quality in the
setting. The platforms added visual variety to the
design and, at the same time, made it possible for the
actors to have a certain amount of variety in their
movements. In the Davis-Watkins book on children's
theatre, the statement is made that varied acting lev-
els "are almost essential for scenes involving many
characters or pageantry sequences, in order to keep
groups separated as forces and yet provide for focus
upon the principals."24 The last scene of this pro-
duction showed the truth of this statement and, to
some extent, the validity of the design of the plat-
forms for this production.

The texturing of the courtyard wall furnished a
luxurious quality to the setting and at the same time,
the darker shades of blue seemed to create an atmos-
phere of mystery in the courtyard.

In general, the setting and lighting seemed to
enhance the costumes. The color and the various levels
made it possible, for the most part, for the actors and

their dress to be seen to the best advantage. Davis

 

24 . .
Jed H. Dav1s and Mary Jane Larson Watkins,

Children's Theatre (New York: Harper and Brothers, 1960),
p. 156.

107

and Watkins state that "the flavor, line, and the
details of setting, costumes, and properties will help
the children understand where, when, and under what
circumstances the action is taking place.”25 The
design of the setting and lights seemed to make this
contribution to the production. The audience reaction
to the setting was, to a large extent favorable.

If, however, there had been a more suitable amount
of time available to design, construct, set—up, and
rehearse the technical aspects of the production, the
setting and lighting might have been different. A
large problem resulted from the placement of the magic
mirror. As mentioned before, it was placed as far
downstage as possible so that the audience would be
able to see the faces of the actors in the scenes in
Beauty's house. This was also done so that Beauty
would be able to suddenly disappear from the courtyard
and appear in her house as was required in the script.
By doing this, however, a bad sight line was created
on the stage right side of the auditorium. That is,
members of the audience on the stage right side of

the auditorium could not all see the whole interior of

 

25Ibid., p. 155.

108

Beautyss house. The placement of the mirror also
forced the setting to be, in some areas, fairly shal-
low. This was not always undesirable because it did
make it easier for the audience to see. However, if
the setting had been deeper in some areas, the actors
would have had a greater opportunity for variety in
their movements, although this added depth would have
made impossible the transformation of Beauty from the
courtyard to the interior of her house.

A possible solution for these problems that would
have also helped solve the problem of making the set-
ting appear to be an inner courtyard might have been
to use the architectural elements with a lighted back-
drop behind them. These elements could include a
rib-vaulted portico such as were popular during this
period and a set of Baroque balisters supporting a
railing. A setting very similar to the inner court-
yard of the Medici—Riccardi Palace could have been
designed in this manner. However, this would have been
most expensive because all of the scenery would have
had to be built, the University Theatre does not have

scenery of this type in its stock. It would have also

109

been very time consuming in the construction phase and,
during the set-up, the time needed to properly light
this type of setting would have been far in excess of
that available. It would have been very difficult to
work the magical effects, which required masking, into

such an open setting.

THE LIGHTING

The lighting for this production was not completely
satisfactory. The lighting crew was able to operate
with a great amount of efficiency considering the
amount of rehearsal time that was available to them,
and the colors that were used enhanced the setting and
the costumes. However, the lighting seemed too flat,
the actors seemed at times two-dimensional. This was
caused, almost completely, by two factors; the limited
number of instruments used due to the time limitations,
and the fact that the shallowness of the set made it
impossible to achieve any back lighting. Of those
instruments that were used quite a few, by necessity,
were specials that were used for magical effects.

The only solution for these problems would have
been for the designer to have had more experience in
this area so that a more efficient usage of the instru-
ments could have been employed.

To conclude, the design of the setting seemed to
be successful within the limitations that were imposed
by the script and the conditions under which the play

110

111

was produced. However, because of the time limitations
and the inexperience of the designer, the lighting was

not completely satisfactory.

112

BIBLIOGRAPHY

Aronson, Joseph. The Encyclopedia of Furniture. New
York: Crown Publishers, 1951.

Ashworth, Bradford. Notes on Scene Painting. New Haven:
Whitlocks Inc., 1952.

 

Burris-Meyer, Harold and Cole, Edward C. Scenery for
the Theatre. Boston: Little, Brown and Company, 1948.

 

 

Davis, Jed H. and watkins, Mary Jane Larson. Children's
Theatre. New York: Harper and Brothers, 1960.

French, Thomas E. A Manual of EngineeringDrawing.
New York: McGraw—Hill Book Company, Inc., 1941.

 

Gardner, Helen. Art Through the Ages. New York:
Harcourt, Brace and Company, 1946.

Gassner, John. Producing the Play. New York: Dryden
Press, 1955.

 

Gillette, A. A. Stage Scenery: Its Construction and
Ri in . New York: Harper and Brothers, 1959.

Horizon Book of the Renaissance. New York: American
Heritage Publishing Company, 1961.

McCandless, Stanley. A Method of Lighting the Stage.
New York: Theatre Arts, Inc., 1939.

Meyer, F. S. Handbook of Ornament. New York: Hessling
and Spielmeyer, 1894.

Nicoll, Allardyce. The Development of the Theatre.
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I.

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