Education Press

Press, 28 November 1988, Page 28

Education Press

The Set The set for “The Three Musketeers” is designed by Tony Geddes This is the designer’s model. A good set is essential for the success of anv production. It must look good and yet be practical in both its design and construction. It also needs to add to the production rather than just providing a place for the action. Small scale models of the set are usually built for major productions They provide a three-dimensional aspect to the set drawings and help the lighting designer and the rehearsal process. Set models also help the director plan how the furniture and other objects will be positioned on the stage. “The Three Musketeers” has 70 separate scenes and a set had to be invented that would work successfully with each one. The set includes a drawbridge, hidey hole and a crow’s nest. A revolving stage has been incorporated in the design.

Stage properties (props) Nearly all productions need to use various props. These are the responsibility of the properties manager. Props have to be borrowed, made or found. In “The Three Musketeers” some properties are so large that they are considered part of the set. These include five horses, a boat and a cannon. Brian McMillan and Patrice Aplin working on horses for the production. The horses were designed by Tony Geddes.

Costumes The costume designs for a production are enormously important. They need to convey something about the mood of the play as well as giving an appealing co-ordinated effect. Careful thought has also to be given to colour and fabric. .. The first impression the audience has of a character is the costume. It can convey such things as historical period, age, job, social position and personality. There are more than 40 characters in “The Three Musketeers and each has a distinctive costume. These costumes have all been designed by Pamela Maling. The play is set in France in the seventeenth century; the costumes have been created to reflect the fashions of the time. In this production costumes have had to be very strongly made in order to withstand the boisterous nature of much of the action. t What fabrics and colours would you use if designing costumes tor “The Three Musketeers”? Mark Hadlow, who plays the King of France having his costume fitted by a wardrobe assistant,. Carolyn Gunn.

Lighting The use of effective lighting is essential for setting the mood of the various scenes in a play. It gives information to the audience about such things as the time of day of the action and can be used to emphasise certain actions or objects on the set. Lighting is also important to show the set off to the best advantage. The Court Theatre uses a computerised lighting board (above). The director, the lighting designer, and the operator plan a lighting sequence for the production. This is then programmed into the computer. The use of automation enables the operator to work the sound cues and the lighting simultaneously.

■a Classroom Resource

Rehearsals A great deal of work on a production has usually been done before rehearsals begin. The director works out how he sees the production, and a plan for achieving this. He visualises each scene and works out the grouping. A ground plan is marked out on the floor. Rehearsals are then scheduled. At the Court Theatre there are usually three weeks of rehearsals in the rehearsal room and one final week of technical rehearsals and dress rehearsals on the stage. The Court director, Elric Hooper, shapes a scene in a rehearsal of “The Three Musketeers.” K. C. Kelly (left), Paul Barrett (middle) and Geoffrey Dolan play the title roles. The Director The job of the director is to bring all the raw elements of a play together — scenery, lighting, costumes and acting — and shape them into a satisfying and stimulating production. Elric Hooper is “artistic director of the Court Theatre” and is “the director” of “The Three Musketeers.” What is the difference between these two jobs?

Duels and stage fights In many productions there are scenes that require special attention and flawless timing. “The Three Musketeers” includes a number of sword and fist fights. Extra, time has had to be set aside so that the company can learn to fight in a way that looks realistic and yet is not dangerous. K. C. Kelly and Bryan Aitken, both experienced “stage fighters,” have been giving lessons to the rest of the company. Can you suggest other scenes that often occur in plays that may need special coaching? A practice fight at the Court Theatre. Michael Smith, who plays Jussac, the chief of the cardinal’s guards, falls to the wiles of Kevin Smith (left), who plays d’Artagnan.

Backdrop Tony Geddes, who designed the set, painting the backdrop. It depicts a stylised map of Western Europe.

Wigs and Boots Theatrical costumes are designed to be seen on the stage. The sillhouette of an actor in period costume is very important. It is this outline which, perhaps more than anything else, immediately identifies particular times in fashion history. Wigs and men’s boots are, of course, very important in defining a period costume silhouette. Long’ curling wigs for men and high boots are a unique feature in seventeenth century costume. Can you suggest the silhouettes that convey other periods of costume history? Bryan Aitken has a fitting for the boots he will wear in “The Three Musketeers.” He is helped by Louisa Davis, who has made the boots and wigs for the production.