GHOSTS: A SET IN THE MAKING (PART 1)
In this two-part blog, I’m going to focus not on the play itself, but on the set. Why? Because quite simply the set is astonishing! If you’ve been keeping up with our blogs, you already know that our current production Ghosts is set in the early 1880’s, that it was written by Norwegian playwright Henrik Isben and that though it is a revered classic today, it was considered absolutely scandalous in its time. The exposed secrets and immoralities conflicted with society’s moral taboos. If you’d like to learn more about the history of the play, the storyline, the characters or director, please peruse our recent posts.
In the meantime, let’s take a look at the set. The set design, by Rich Preffer, captures the essence of the play. The mood. The character. The unsaid meanings and implications. The set itself includes a cage like structure, including a canopy structure, which encompasses the entire set. Looking at the set, you at once feel both the sense of home and closeness. Taken in conjunction with the play, along with the props, lighting and actions of the characters, it is evident that the set also represents a sense of entrapment. It foretells of the isolation and bleakness of the play. And it does so wonderfully.
So how did Rich come up with the concept? Believe it or not, the entire concept was developed based on a conversation with the director, Simm Landres. Simm mentioned a couple of words (caged in and trapped) and that was enough to immediately inspire the concept of a Victorian birdcage. That, my friends, is the feat of a true artist. Rich explains the set in relation to the characters
“In a lot of ways, all of the characters are caged in or trapped, whether it be by social obligation and standards, or their own personal fear. Plus, I thought the shape of birdcage lent itself to a Victorian conservatory or sunroom giving a nice balance between realism and this cage concept.”
Though the initial concept might have come about naturally, there are plenty of challenges in creating a set of this prominence. With the play set in the 1880’s, finding period furniture that fits the overall feel of the set was at times similar to a scavenger hunt. It also takes a lot of teamwork. Because the set and the props are so interrelated, Rich works with Kim Crawford to ensure all the furniture pieces and decorations are in place, and Kim then handles all hand props separately. That takes care of the placement of the physical elements of the set, but the set is still missing something… Lighting. Working with Madeleine Steineck, lighting becomes the final element. When asked what his favorite thing about the set was, his answer: “I love the way the set works with lights. Madeleine’s use of shadows plays really nicely with the cage bars.”
Rich noted that this set is his favorite set that he has designed so far at our theater. Considering that this is his 8th set, that’s saying a lot! Do the theater critics agree? Click here for Part II of this blog to see what the Pittsburgh Theater critics had to say.
Fun Tip: Did you know? Conceptualization of the set starts about 6 weeks before the show, with actual construction commencing just a few weeks prior to opening night. Over a one-week period, Rich and his team build a majority of the set. From that point on, they work around the actors’ rehearsal schedule to finish the construction.
GHOSTS
A Pittsburgh Theater Premiere
Feb 27-28, Mar 5-7, 12-14 @ 8:00 PM
Matinee Mar 1 & 8 @ 3 PM
Written by: Henrik Ibsen
Adapted by: Virginia Wall Gruenert
Directed by: Simm Landres
With: Virginia Wall Gruenert*, Ken Bolden*, Shaun Cameron Hall, Sarah Silk*, Weston Blakesley*
 |
| Scenic Design: Rich Preffer |
In the meantime, let’s take a look at the set. The set design, by Rich Preffer, captures the essence of the play. The mood. The character. The unsaid meanings and implications. The set itself includes a cage like structure, including a canopy structure, which encompasses the entire set. Looking at the set, you at once feel both the sense of home and closeness. Taken in conjunction with the play, along with the props, lighting and actions of the characters, it is evident that the set also represents a sense of entrapment. It foretells of the isolation and bleakness of the play. And it does so wonderfully.
So how did Rich come up with the concept? Believe it or not, the entire concept was developed based on a conversation with the director, Simm Landres. Simm mentioned a couple of words (caged in and trapped) and that was enough to immediately inspire the concept of a Victorian birdcage. That, my friends, is the feat of a true artist. Rich explains the set in relation to the characters
“In a lot of ways, all of the characters are caged in or trapped, whether it be by social obligation and standards, or their own personal fear. Plus, I thought the shape of birdcage lent itself to a Victorian conservatory or sunroom giving a nice balance between realism and this cage concept.”
Though the initial concept might have come about naturally, there are plenty of challenges in creating a set of this prominence. With the play set in the 1880’s, finding period furniture that fits the overall feel of the set was at times similar to a scavenger hunt. It also takes a lot of teamwork. Because the set and the props are so interrelated, Rich works with Kim Crawford to ensure all the furniture pieces and decorations are in place, and Kim then handles all hand props separately. That takes care of the placement of the physical elements of the set, but the set is still missing something… Lighting. Working with Madeleine Steineck, lighting becomes the final element. When asked what his favorite thing about the set was, his answer: “I love the way the set works with lights. Madeleine’s use of shadows plays really nicely with the cage bars.”
Rich noted that this set is his favorite set that he has designed so far at our theater. Considering that this is his 8th set, that’s saying a lot! Do the theater critics agree? Click here for Part II of this blog to see what the Pittsburgh Theater critics had to say.
Fun Tip: Did you know? Conceptualization of the set starts about 6 weeks before the show, with actual construction commencing just a few weeks prior to opening night. Over a one-week period, Rich and his team build a majority of the set. From that point on, they work around the actors’ rehearsal schedule to finish the construction.
GHOSTS
A Pittsburgh Theater Premiere
Feb 27-28, Mar 5-7, 12-14 @ 8:00 PM
Matinee Mar 1 & 8 @ 3 PM
Written by: Henrik Ibsen
Adapted by: Virginia Wall Gruenert
Directed by: Simm Landres
With: Virginia Wall Gruenert*, Ken Bolden*, Shaun Cameron Hall, Sarah Silk*, Weston Blakesley*
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