Weekly Work Plan of 28/11/11

Set Build Day 1

Today is a day I have been excited about for a long time and it felt great to finally be 'doing' rather than relentless ordering, organising and speculating! I met Richard and Amber on site at 8.30 where John had done the get out the previous evening so all our materials were ready and waiting, including all the stuff ready for Debs on Monday. We began by making the pallets which is great not only due to recycling the wood used in In Extremis but also means, unlike bought pallets, we can ensure they are completely sturdy and sound for the actors use. The first obstacle we came across was the spacing between the wood strips of the pallets. If done correctly to scale they would be 50mm apart, but this space is too large and would be dangerous with the level of physical activity carried out on them by the actors. As their well being is of prime concern this gap was reduced to the wood thickness of  20mm to prevent any toes being caught in inconvenient and painful gaps! The pallet width was then reduced overall due to this decision which won't have a huge implication on their formation only making it narrower. We will have to ensure in the get in that the Pallets connect to the stage rostra where the painting is rather than the pros itself so the actors can still walk down from the stage onto the pallets. Once this was resolved these came along very quickly and as Richard and I began to make the Pros arch framework Amber continued to work on the dissected Pallets.

The frame work came along quicker than I expected as Richard had pre-cut all the angles for the joins which, done by machine, was totally accurate and made assembly far less time consuming. I had a first attempt on a circular saw which was great as well as practising how to cut at different angles. Once the frame for each leg and the top part of the Pros were created it was time to clad. This proved slightly more challenging due to the extra piece being added to hide the curtain pole.

Once the first piece of 2x6 mdf cladding was applied we used the Autocad drawing to work out the distances from the edges of the mdf and the existing framework to calculate the right angles and lengths to create the correct silhouette shown in my set model. This again needed some slight adjusting due to the added piece. Once Richard had accidentally sawed the triangle of the top right of the pros...it was time to call it a day....

Pallets

Viola! First half of a pallet, the planks for the reverse side just need to be added.

Making sure the ends of the planks match the length below. The width of the 2x3 was used to do this.

Completed pallet no.1! Another bonus feature of re-using In Extremis wood is that the inside of the pallet is already painted and won't need to be redone!

Dissected pallet which has been fully reinforced at the 45 degree angle end for the actors safety.

Pros Framework

Starting out with the cut angled pieces using Autocad as reference. All pieces are labelled with number at the top.

No.1 flush to the 2x3 timber piece.

The framework progressing, making sure for each cut piece it is flush to the timber frame.

First section of framework finished ready for cladding!

Creating the longest part, the top of the Pros but still  able to fit in the get-in truck!

A technique to enforce a weak joint such as this as the wood is at such an angle. Drill in a thicker piece of wood the opposite side of the join so the screws are stronger rooted into the wood. 

Lefthand side and top of Pros frameworks with extra frame added for the  lower pros arch on thebottom right of the top piece.

Final frame coming together. I cut the braces for the middle section  on the circular saw.

A different type of join above piece 13 to add strength to the framework. A section of wood is chipped away and the perpendicular piece of wood is wedged, then screwed in.

Complete final frame begins to be clad. The mdf piece being flush to the  base of the frame.

Using Autocad to draw out the angular silhouette of the Pros.

Richard matching the framework underneath with a piece of wood and drawing out on top of the structure to ensure screws are drilled into the right place.

The pros clad and cut down, screws have been added around the edge of the frame for  stability/security. Richard matching up the top and right pros pieces to check they are going to connect as planned..

The plan worked! The angles and hence mdf pieces will meet as planned when the frames are united!

The final result of a hard days work. Pallets and framework....more cladding to follow!

What made it all possible.....

Iron dilemma!

Managed to get the iron transported down to Bournemouth today only to find that the workshop cannot cut it as is too thick and steel. I felt so disappointed as I had hope earlier in the week when they said they would know if they could cut it when they saw its thickness and I knew it wasn't very thick in comparison to some. In the workshop we investigated cutting with snips, but cutting across the corrugation was still too difficult for it. The helpful man in the workshop suggested buying plastic equivalent and painting, but this posed a few problems as it would have meant I would have to buy new paint (that won't chip off plastic) and find the corrugated plastic locally as there is no time to order it in for Monday.

After a minor panic. I went to see Amber and told her the situation and she had a brain wave to investigate into local steelworks. On calling the first one found on yell they were happy to cut the corrugated iron on monday for £10.00. Problem solved! They are even likely to be able to puncture holes so we can cable tie the iron straight onto the rostra - excellent. I am so relieved as the iron is just perfect and is beautifully worn, it will create a wonderful aesthetic and evoke WWI through its superb texture. This also won't break the budget, £10 is worth it to use these great materials.

Reflection:
This is further proof that there is always a way to resolve a problem, fast action and common sense is needed to find the necessary outcome and work with the situation in hand. It didn't occur to me that steel works would perform such a small task, but in future I will be aware and ready with an answer/options in another problematic situation.  

Princess Final Fitting

This fitting was added in to finalise the skirt length and the finishing details of the Princess's gown, as well as arrange the cape fabric which is yet to be added. The dress fits beautifully and the final hem length was marked on the lining.

Adjusting the cape attachment at shoulder clips

The cape draping at the back to still show off the back cowl.

Shoulder clips, cape and diamante chain in position.

Orchestra Rehearsal

The wonderful Kokoro are in today to rehearse for the first time with the Actors. I have prepared a selection of chairs from the store that work with the mis-matched antique chair idea, but also gives them the option to chose which heights and style of chair is most comfortable for them. The Double Bass player has bought her own stool which is wooden so nothing will need to be done to this to make it blend in with the others which works very nicely. The music stands are also fairly old fashioned in their style and aren't the large black metal modern ones I was expecting so I don't expect we will need to do anything to mask them for the performance as I like them as they are. The only stand that is modern is the Conductor however, he will be facing away so the audience will only see his music sheets if anything which is fine.

One problem was that the Orchestra do not fit on the rostra I have allocated for them, however as John ordered 2 extra for the set build we have two to play with and another has been added onto the back. This allows all of the musicians plenty of room and the Conductor is now also on the Rostra, as well as it still fitting in the Ocean Room space. I have informed the technical draughtsman, Amber of this so she can alter it on her ground plan.

Set Issues

This week with the tecnichal drawing of the set has uncovered some problems firstly discrepancies of measurements between my model box, drawings and what the venue claim. Wherever the mistakes lie it had implications on the dance floor end and clearance, also the angle of the two sets of rostra. However, to resolve this I have reduced the size of one of the angled pieces of Pros so it cuts into the dance space less without having to reconfigure the pallet arrangement or move the whole Pros arrangement around. The rostra will fit in the space but the angles will change slightly as it slightly less than in my model box. However, from the mark out in the studio Theatre the arrangement will still be very similar.

A further problem has been the curtain pole. As a pulley system is required to be operated from stage right alone a single curtain track is needed which is currently not possible with the angles of the Pros. I therefore had to add another piece into the top of the Pros to make this possible. I find it a shame as I love the angle of the Pros as it is a strong Cubist feature and made it very unique as well as the implications it may have on sight lines. However, I am hoping to maintain the look of the angle through painting affects and the pulley system is required.

Reflection:
The realisation of my set is the greatest learning curb for me and instances such as these make me realise how much needs to be critically considered for a design to work. Thankfully this can be worked out but in future I need to keep asking the Director about the curtain ideas throughout the process and incorporate it into the design. This experience has aided my ability to make intellectual decisions with the situation in hand and be confident I can resolve it in a way that is still in keeping with my design aesthetic and achieved the required result. 

Fittings for Devil's characters (Sourced costumes)

For the Devil's disguise as characters I have tried to maintain some continuity and subtle suggestion that it is he throughout the changes by including red in each costume whether in a trouser check, scarf or hankie. This evolved in the fitting to using the same silk scarf in each costume which works really well especially as the scarf is green and red - the colours of the Devil's final costume. This will translate well to the audience and also connect with the red contacts she will be wearing throughout. We also made the decision for Rhiannon to go shoeless throughout and let make up dirty up her feet from the start. This decision was made to allow her maximum movement, which she said she would find much more difficult in shoes, and will also give the added bonus of the make-up on her feet already being partially done prior to the last change giving us more time. A pair of black character shoes will be bought as back up in case the Pallet texture is too rough for her feet.
A decision has also been made to cut the masks as they reduced her eye contact/ visibility which is key to her character and didn't fit particularly well.
We also tried on the leotard under the violinist costume as it may be convenient to put this on at this time as there is longer for this change. Doug would like the beneath costume not to be seen so gloves will be worn and the powernet over the feet rolled up beneath the trouser.

The Old Man

Costume elements:

• Black coat
• Check Trousers
• Brown leather belt
• Check scarf
• White shirt
• Flat cap with peak
• Red silk scarf

To do:

• Break down jacket, check scarf and trouser - (jacket- dusty, musty, old, patchy) (scarf - grubby) (Trouser grubby and great wear)
• Take in the trousers to create the shape of the period
• Grubby sleeves slightly

Cattle Merchant

Costume elements:

• Trousers (same as old man)
• Shirt (same as old man)
• Brown Jacket
• Brown leather belt
• Grey flat cap
• Red silk scarf

To do:

• Buy a hankie for the top pocket 
• Break down hankie
• Pin up jacket sleeves
• Popper for top button of shirt

Washer Woman

Costume elements:

• White cotton cap
• Pinny
• Brown check dress
• Red shawl
• Red silk scarf worn in pinny

To do:

• Pad a large bra with wadding to give her a large bust - alter body shape to very womanly

Detail of shawl

 Virtuoso Violinist

Costume elements:

• White smart shirt
• White waistcoat
• Black tails jacket
• Collar
• Red silk bow tie (matches scarf)
• Silk Hanky in pocket
• Black trousers to match tails

To do:

• Source and buy straight leg trousers that fit and add petersham edging if needed
• Add collar
• Pre-set bow tie
• Get cufflinks (red)
• Waistcoat/collar studs
• White gloves

Reflection:
I felt Grace and I were very prepared for this task as we had a couple of choices in various colours and sizes for each character that we could try out and experiment with. It proves that it is all about the styling and accessorising that makes a costume great, for instance Rhiannon wearing the trousers at the waist instantly made it look to the right period. A great deal of breaking down will be needed to truly create these characters but I am happy that the Director is happy with each character's look and Rhiannon is able to move freely in each. We also took into consideration the time for each change whilst doing the fitting so we can do things such as pre set the Violinst bow tie to make the change faster and less fiddly. The overall result looked great and I feel more prepared for the costume parade on Monday.