THE GOD OF HELL- great raised set in a tiny theatre- Designer Rodney Fisher. Playwright Sam Shepard. Producer- Mophead Productions. Venue- The Old Fitzroy Theatre

This was a cracker set.  Traditional flats used to create the vestibule, boot room and kitchen of a farmhouse.  Unusually, a raised stage was used in this venue and this took the tops of the flats close to the rafters with no tormentor.  This really added to the rural, barn effect as did the rustic floorboards.

The set is best described as a top hat on its side set a metre back from the front of the stage.  The crown section Up Stage and Centre is the vestibule with a hall stand against the Up Stage Centre wall.  This area has a hidden patio Up Stage Right with a full glass sectioned front door. The downstage wall of the patio was the boot room … the Down Stage Right brim.  This had an Elizabethan inspired complete hutch unit with seating on top of a boot box and a doored coat cupboard.  Although there were two chairs scattered about, it was this claustrophobic space that was the main seating for the characters.

The Stage Left part of the vestibule has a table and a door to the hidden living room.  The Stage Left brim was the kitchen with three section plate dresser and off to Prompt a cooker, sink and low doorway to the basement with a small wooden entry of its own. A false teaser hid the window on OP and the sink near Prompt.

The walls were grey, texture washed to resemble wallpaper.  The architraves were wood, all the furniture was also wood. There were 50 odd plants scattered about.   All the wood had been well aged with a slight green finish which reinforced the aged and settled nature of the set.  But it was the little details which really supported the tone.  Missing glass in one of the dresser cupboards, wooden utensil rack with well used gear, a step at the lowered basement door, painted tin war trunk, worn cushions.  It was just beautifully dressed.

How  To Succeed In Business Without Really Trying:-Multiuse, colourful and flexible- Designer-James Browne. Playwright: Book by Abe Burrows, Jack Weinstock and Willie Gilbert, Composer and Lyricist- Frank Loesser. Producer- Australian Institute Of Music (AIM). Venue- AIM Concert Venue, Surry Hills

The setting was another smooth and willing character in this production.  It presented like a skyscraper records office in the 1920’s style.  An art deco opaque stained glass window at the highest Up Stage level complemented the thick, wheeled free standing flat with the same design which made up the rear of the open stage.  Behind this was a little tunnel used to good effect.

A wide, clear stage level for the large-cast choreographic numbers.  A second level, a metre high on 3 sides with Centre Stage Right and Centre Stage Left stairs up to it, and a third level office Up Stage Centre as the character moves up in the world.  The third level reached by filing cabinet style blocks.  A natty box seat to the side of the desk for characters visiting the office.  It was clever of the director to use the hidden stairs leading off Prompt and Off Prompt as extra performance space.  Cast could stand a few stairs down and lean in to still be part of the action while the large stage space was still useable.

Steel colours, steel banisters with a black ply mask and steel paint with the filing cabinet motif over the whole stage. With a nod to the colour palate of the Broadway production, it was cartoon greens, pinks, yellows and blues for the filing cabinet drawers combined with the steel painted surround.

But the real delight was the way the furniture was disguised as filing cabinets and was seamlessly pulled out by the characters and extras.  A high backed chair, office desks and even the men’s washroom and mirror surrounds appeared easily for scene representation.  A sofa was pulled out of these alcoves as well.   Combined with an oversized mail room desk truck, the audience knew where the characters were for any scene.

Spectacularly sneaky was the turning of the upstage flat to become the shiny, metal doors of an elevator.  If there had been less action on stage then, I believe the audience would have clapped this change.

Switzerland- Off Kilter and disorientating. Designer Michael Scott Michael. Playwright- Joanna Murray-Smith. Producer- Sydney Theatre Company. Venue-Drama Theatre, Sydney Opera House

Unusual use of the space.  An isosceles triangle with the flat side toward the audience and the point towards Prompt.  It represents a basement room or lower room.  The ceiling is 3 beams and the underside of floorboards painted white.  The walls are concrete grey with 3 blond brick pillars.  This blond brick is also the surround of the practical fireplace Up Stage Centre.  There are windows Left of the fireplace and chimney with a large oil portrait of the female character.  Another window to Right.  The windows have beveled sills and have depth and power.  The fire is the heart of the design and the focus draw on entry to the space.  Above it are a framed knife, and 2 framed hand guns.

There is a spiral staircase Centre Stage Right and the female character makes her first entry from there.  Down Stage of this is a vestibule lined with books and bookshelves which acts as the exit to and entrance from the kitchen and possibly the front door. There is a bench in front of the fireplace and Down Stage of that is a pale brown 2 seater sofa, large coffee table and tub chair. In the point of the triangle are a messy desk, old fashioned portable typewriter and books and papers scattered.  Plus a captain’s chair.

Up Stage Right is small bookshelf, gilt mirror, and 70’s stereo with practical speakers.

This article was first published on Judith’s blog- http://sydneylivetheatretechnicalnotes.blogspot.com.au