Evaluation.

I think that I have learnt an invaluable amount during this project. It has been very rewarding to experience the realisation of my designs whilst overcoming any problems that occurred. I think I have a much better understanding of the design process and things to consider before the realisation of a project. I have really enjoyed working within a team of people who have varied skills and therefore I think I am a much more rounded designer. I have gained practical experience through helping with the making of set elements and costumes. It was a challenge when compromises had to be made on some of the hire costumes, however I found this very exciting and I managed to make the colour scheme work as a whole despite the changes that had to be made. I have found that through designing and changing some elements of the set, (chest and benches), I have acquired new skills and a better understanding of my role and relationship with other members of the team such as the production manager and carpenters. I think that I planned my time well between the costumes and set keeping an overall view of the production. Working closely with the director and listening to ideas as well as giving them has helped to push me with design challenges. I always considered my director’s view and issues with anything and therefore ensured everything worked smoothly. I think some elements of the set could have been improved, for example the shields, which I have thought about and detailed in my sketchbook. Going to fittings, being available at university and attending rehearsals as much as possible helped me fully understand how my designs were being realised and also meant that I was available to answer questions from my makers etc. Working with a supervisor, buyer and production team was a new experience and a very beneficial one. I think my professional practice has vastly improved and I have discovered that I really enjoy being part of a big team. Working with props was also a new experience, however doing in depth research into the period allowed me to make confident design decisions when props were sourced. I originally picked more affordable fabrics for my costumes, however on discovering we had more funding I chose better quality natural fabrics that would have been around in the medieval period. I think this greatly improved the costumes and therefore the overall look of the show. I feel ensured that the designs were authentic to the period yet creatively suited to the piece. It was very helpful to me to constantly consider different design options so the differentiation between what was sourced, hired and made was as seamless as possible. The speed at which the costumes and set had to be produced was intense yet exciting. It was my constant aim to ensure the costumes worked together, in colour palette, hierarchy and character and that they complemented the set, which also ran smoothly. The Canterbury Tales was an extremely valuable experience and has taught me a huge amount.

Finishing off the Counter and Set Assisting evaluation.

Below is a picture showing how the scenic artist and I finished off the counter by adding the drawers.

The set - Lighting designer testing the lighting.

My set assisting work has been a challenging experience and has pushed me to look at a design which creatively I had little input on and figure out how it could work as a set in a short space of time. I think I have been very proactive and the project was interesting and a new challenge.

Production Meeting and Rehearsals.

Despite research into sourcing another till the director has decided to stick with the toy till, this was okayed by the designer. It was interesting to see the actors/actresses blocking in the play within the set for the first time. It was like watching the play on fast forward with the movements on and off the set being the most important aspects. As a designer, it was interesting to see this as it widens and improves my knowledge of set design and how the set can be used by the actors/actresses and director.
These are my notes from the production meeting today:

Outstanding Set Elements.

• Table Cloths x2
• Counter cover - runner. This is a new element that wasn't in the design. We could also use the linen from The Canterbury Tales table cloth for this.
• Camouflage netting.
• Branch for the Imperial Garden Cafe. We could use the tree which was used in Much Ado About Nothing.
• Drawers need to be added to the counter.

Set building and Painting.

These pictures show the work we did to finish the painting on the set and furniture. Above: Having sanded the chairs we painted them a darker brown which was more in keeping with the rest of the set.

The counter had some scratches and dents from travelling to the rehearsal venue and back so I sanded these down and we painted over the top to cover them.
The picture below shows how we used sponges and different similarly coloured paints to create a cobbles effect. This was a really easy and effective process and it looks interesting and goes well with the rest of the set.

 The set, with the floor now painted.

 Below: These are the black curtains that the technical supervisor and I made and hung in the studio theatre to cover the backstage area.

 Below: Rehearsals today.

Below: This is the screen which the technical supervisor and I worked on to make the fabric look more taut and neater. We also covered the rough edges with some trim so that it looked neat from both sides as in the play the audience will see both.

Through helping to create this set and adapting some of the furniture and props, I think I have learnt a lot about the realisation of sets and the time it can take to create them. It has improved my understanding of set design and how important the actors/actresses and their movements are within the space and fundamentally how I envisage the space and the design as a whole.

Sourcing, Painting and Set Building.

For the past few days I have been organising, sourcing, painting and building set elements. We bought two bushes from B&Q along with three door knobs for the counter cupboards. I think that my sourcing abilities have vastly improved over the whole of Specialist Practice and I know feel much more confident, particularly now with On The Razzle, of finding things and showing the different options to the director and designer.

 Possibility for trees? Keep this option if it is necessary or we need an alternative.

 2 Bushes for Miss Blumenblatt's garden scene.

 After the get out for Cementville.

 Helping to adapt the counter. Applying ply wood to create the shape.

 Below: Removing and adjusting the shelving inside.

 Plywood applied.

 Here we used filler to cover the nails and fill any gaps on the top.

 Painting the counter.

As the top surface was MDF and the sides were Plywood the scenic artist had the idea to marble the top so that the change in material didn't show.

I think the marbling has worked really well, it just needs a glaze to finish it off.
Below are the results of todays work. All the flats have been created and tomorrow we will be able to add all the doors and windows. I am really pleased with today's work and I really feel I've grasped a lot of new set building skills, for example learning how to use the correct tools and how to cut and join planks etc. together correctly.

Above: Nail gun with goggles (health and safety), this is one of the tools I learnt to use today.
I have also enquired as to hiring a till from the National as the director would prefer something more authentic.

Sourcing, Third Production Meeting and a Run-through.

For the past couple of days we have been trying to source various things for the On The Razzle set. The most difficult thing at the moment is the rug. Here is one we have sourced: http://www.ebay.co.uk/itm/BEAUTIFUL-VERY-WORN-ANTIQUE-BENLIAN-RUG-PINKS-BLUES-144-X-182-CM-/400342193928?pt=UK_Home_Garden_Rugs_SM&hash=item5d36411708&_uhb=1 I picked out this rug as it is an old style, it doesn't look new and it has interesting and muted colours that would be in keeping with the colours in the set. It's age is also from 1900-1939.
However there is no guarantee whether we will get this as it is ebay so for the time being we are concentrating on other elements, for instance the door knobs for the counter that are needed imminently.  Plan b for the rug is to try the rug shop and charity shops in Winton.
My notes from the production meeting were:

• We need to re-do the mark out for rehearsals Monday morning, marking the centre line to begin with and going from that to ensure all measurements are correct.
• Plan for the build and painting next week: Monday, Tuesday, Thursday paint and Monday, Tuesday build.
• The director would like a whole day on Friday to rehearse on the set.
• Lanterns for the Imperial Cafe garden have been cut.
• Coat stand needs fixing.

My notes from the run through were:

• Musical transitions are used to change the set, taking things on and off. This has to be quick and easy.
• Window and door frames are taken to the sides of the set during act 1. There was concern that there is not enough room for the large window frame, this will be something to consider in the rehearsal on Friday.
• Table measurements for table cloth reference: 800x800mm and 750 mm height.
• Musical transition between The Imperial Cafe and Miss Blumenblatt's where everything is taken off. Rug is brought on rolled up, which Miss Blumenblatt kicks and it rolls out. The director really wants this movement and action therefore we need to make sure the rug does this well.
• They are currently using upturned buckets as a substitute for the bushes in Miss Blumenblatt's garden. They measured at 500mm high but the bushes would probably need to be around 700mm high.

Final Set Plan.

I was at rehearsals this morning and went through what needed to be confirmed with the director. I have created a final plan and a shopping and making list so that the team knows where we are with the set. Through watching rehearsals today I made the following notes:

• Wardrobe, Zangler's shop. Needs a black screen behind. We could use some black felt with a slit in it so that the actors can get backstage. Green and gold screen needs neatening. 
• Shopping list, get set pieces ready for the build.

Below are my set plan notes:

Set Plan 19^th November 2012. My notes taken from a meeting with the designer, scenic artist and technical drawing supervisor on 20^th November 2012. My notes from a discussion with the director on the 21^st November.

Zangler’s Shop.

·      Two moving frames, being made by the carpenter and then having a black wash. Made, ready to paint.

·      Two mannequins, sourced. Three mannequins 2 female, 1 male.

·      Counter, dress with wood and then it needs painting, what effect, flat or will there be drawers? On the 29^th dress the one they’ve been using in rehearsals. The designer decided on MDF to decorate the counter. The scenic artist and I gave our concern that it would not have a grain however the designer chose this. We therefore need three; “plain and wooden” door knobs as described by the designer.

·      Stool. Sourced but needs painting. The same colour that the chairs are being painted (dark brown). I am going to check with the director that it is ok to paint anything that was from the acting store. Ok to paint furniture from the acting store, this has been confirmed with the production manager.

·      Till, Vintage toy one, sourced, ok? Sourced, designer agreed this with the director and stage management. Could need dressing.

·      Broom, sourced? Use broom from Cementville.

·      Flooring? Black gradient to front – interior. Cobble stones that fade to black – Exterior.

·      Newspaper, Viennese, what kind of newspaper do you want? E-bay, enough time? Ask the director if he has rehearsed with this? Moves around a few times in the design. ASMs are sourcing this.

Madame Knorr’s.

·      Polystyrene heads, sourced. Would have to be covered with fabric? I researched and found out that Eduard Simon invented Polystyrene in 1839. Are we using the ones in rehearsals? Need 4 of these. Add a layer of news print paper?

·      Fabric drops down from larger of the frames, could this be organza (we had some cream from the archive that was used for Canterbury Tales, is this suitable?), which is tied at the back so that it can be easily untied during the performance. Has something similar to this been rehearsed? The designer said this would be good however I will check with the director that this is ok, as he will need to rehearse this. Cut.

·      Hats, have we got something suitable in the store, are there spare hats that the designer has sourced for the costumes and wants to use? The costume designer is choosing these.

·      Large round mirror. Check with the director about this, as it is not on the props list. Cut.

·      Coat stand, sourced. The designer would like it to be painted the same colour as the chairs. ASMs in costume will bring props and set on and off stage.

Imperial Garden Café and Imperial Garden.

·      2 tables (these can be taken through the props door on the set) with 2 covers (to floor), fastened down, so they don’t fall off when taken off stage? Could be Velcro as then we can change this easily for Miss Blumenblatt’s. One cover - double sided for Miss Blumenblatt’s. The designer has made two out of calico which she would like to use.

·      Cutlery and plates for 6 places. Sourced by ASMs –following items.

·      Champagne bottle. “

·      Tea lights and holders. “

·      6 cups and two large tankards, sourced? “

·      6 chairs. Sourced but need painting.

·      Screen, needs re-covering, what fabric are we recovering it with? Gold edging. Look in rehearsals.

·      Newspaper still there.

·      Tea light and holder x2. ASMs

·      Fake Cake. “

·      Lobster in a covered tray, never seen? “

·      Leaves and vines, ‘outside’. The designer requested that these could be made on a wooden stick so they can be taken on to the set for Miss Blumenblatt’s garden. Some military camouflage netting has been sourced by the designer, just need to ok this with the director.  Netting not needed. Need 2 bushes, as characters hide behind these.

·      Garden table and two chairs. Talk to the director about this, as there is not enough room behind the set for these.

·      Garden lanterns x3. Need to be sourced.

·      Food Trolley. We have one however it might need dressing; ask the director if we can change this if necessary? Doesn’t need dressing, ok.

Miss Blumenblatt’s.

·      Rug. The designer said this could be cut, check with the director.

·      New table cover, floral fabric (to floor). Source something suitable.

·      Newspaper remains on set.

·      Oval mirror comes back on stage.

·      Two candlesticks and a flowerpot, sourced. Buy real flowers for the performances as Miss Blumenblatt takes two out and gives them to characters. This would also look much better than fake flowers and the designer agreed. Geraniums. Fake ones preferably with two separate.

·      Organza draping added as curtain in window to the garden. Rolled up, tied and dropped down. Has this been rehearsed? Cut.

Miss Blumenblatt’s Garden.

·      Vines and lanterns moved to the inside of the stage (SR).

·      2 shrubs, flat boards, real or painted. Could these come through the swing doors? The designer chose to cut this.

·      Ladder, sourced. 3 options available, the designer has to choose and inform the scenic artist of any dressing that will need doing.

·      Tree. The designer chose to cut this.

*FLAMEPROOF ALL FABRIC*

Shopping List.

o   Door knobs (3) for counter, B&Q.

o   4 polystyrene heads. Sourcing: http://www.ebay.co.uk/itm/1-x-FEMALE-POLYSTYRENE-DISPLAY-HEAD-BRAND-NEW-/300740465397?pt=LH_DefaultDomain_3&hash=item46058752f5

o   Fake Geraniums. Sourcing: http://www.ebay.co.uk/sch/i.html?_from=R40&_trksid=m570.l2736&_nkw=fake+geraniums

o   Vines.

o   3 garden lanterns, B&Q?

o   Gold edging fabric, something for the screen to cover the rough edges.

o   2 bushes, B&Q?

o   Fabric for Miss Blumenblatt’s table cover and Imperial Garden Café covers and a rug, we may be able to source this in Boscombe.

Makes.

o   Counter is being adapted on the 29^th. Apply MDF and knobs and fix coat stand.

o   Organza draping.

o   Table covers – 2 with one that’s double sided for Miss Blumenblatt’s.

o   Gold edging on the screen.

o   Leaves and vines ‘outside’, attach to the wall.

o   Dress the polystyrene heads.