Refining concepts:
Dir: Although we initially explored using a large, open stage to present a broad, semi-realistic/fantastical approach to the staging, at this point I think using a more traditional pros-arch venue will, interestingly, allow us to play with the stage-picture in less conventional ways.
Set: You mean a smaller, more contained but more controlled picture frame?
Dir: Exactly. It would also let us layer different scene elements, real and theatrical, quite precisely with respect to the audience view.
LD: A “shuttered-in” stage would allow for some interesting lighting positions, which could be combined with the more traditional lighting of a proscenium stage from that era – we are still setting it in 1907, as in the text, right?
Dir: As far as I’m concerned.
LD: Okay, well this could become quite high-concept as far as the lighting’s concerned. And this controlled form of stage presentation would lend itself very well to using image projection.
Set: Yes – building up layers of scenery and projection as a modern version of painted backcloths, but using a lot of depth too. That would also help with scene-changing: I know none of us like interminable scene changes…
All: Agreed.
Set: So we need a scenographic design that has a certain level of flexibility from its initial set-up.
Dir: I’m putting my veto on having pianos carried on and off, if that’s what you mean.
[The LD pretends to look for a piano gobo]
LD: We’ll do it with projection.
[Everybody laughs. Fade to black.]
