Within the realm of theatre, magic doesn’t just happen on stage – it happens behind it. Imagine, if you will, a single stage serving as the backdrop for two very different stories: the whimsical, technicolor land of Oz in THE WIZARD OF OZ and the abrasive, gray walls of Shawshank Prison from THE SHAWSHANK REDEMPTION.
It’s the scenic designers who transform this blank canvas into entirely separate worlds, each meticulously crafted to draw audiences into a unique plot and setting. Diving into the depths of their creative minds, these unsung artists build a vibrant Emerald City one night and an oppressive penitentiary the next, demonstrating the transformative power of theatrical design. Through impressive expertise, the stage transforms into a storytelling portal, transporting audiences from a fantastical journey down the Yellow Brick Road to a poignant story of hope and resilience within the confines of a prison cell.
Each show is its own entity and comes with its own set of themes and challenges and needs. “I always feel like I’m most successful when I design what a show feels like instead of just what it looks like,” explained Barter’s Resident Scenic Designer Derek Smith. “By creating the physical world in which the characters and stories exist whether it be realistic, abstract, or somewhere in between, set design (along with lighting, sound, costume and props design) influence how the audience relates to or perceives the story.”
The visual and thematic elements that were emphasized for each show add to the extensive vision imagined by those behind the scenes.
“For Oz specifically, the director had a vision for something less MGM and more Edward Gorey meets Tim Burton, so every design choice I made was through that lens. Kansas is more Edward Gorey meets American Gothic and OZ is more Tim Burton and fantastical,” Smith said. “It was also important to us that elements of Kansas be reflected throughout the design of Oz: from all the windmill flowers that surround Oz, to the crow weathervane in Kansas that alludes to the Crows in Oz, to some of the items on Professor Marvel’s cart that show up later in Oz.
“For Shawshank, my goal was to create a prison ward that seemed as real as possible, which was inspired by field trips to the very real architecture and textures of Brushy Mountain State Penitentiary in Petros, TN.”
So how do you manage quick set changes between scenes, especially given the contrasting nature of the two shows? According to Stage Manager for the Barter Players Brady Willis, when
choreographing scene changes, it’s important to embody the desired tone set by each show’s director. This process begins in the rehearsal hall, crafting the transitions with the actual crew members and actors who will be involved, and then later refining everything during tech rehearsals.
“For example, when moving the magical Yellow Brick Road in Oz, Director Stephen Schellhardt worked with the crew specifically on how to walk and move units with purpose, but also reflect the mystical tone of Munchkinland or the Dark Forest,” Willis said. “This meant avoiding rushed or harsh body language whenever seen by the audience. Similarly, when setting up for the stuffy Warden’s Office in Shawshank, Barter’s Producing Artistic Director Katy Brown requested that, once the office units are in place, the crew members (who are costumed as guards) stand at attention, and not leave until Warden Stammas, played by Nick Piper, sits in his chair.”
For both shows, the intended tone of each scene shift is informed by the music interlude or soundscape offered during each transition, whether that be Dishon Smith’s musical direction for Oz, or Brandon Reed’s sound design for Shawshank. Additionally, both shows include crew members in costume who are seen by the audience.
“Barter’s Costume Shop Manager Alice Sullivan’s design for Shawshank includes three crew members in Prison Guard uniforms, and one crew member costumed as a convict. This aided Katy Brown’s vision of executing clean scene transitions, while allowing the actual actors to prepare to act in the next scene,” Willis noted. “Meanwhile, Kelly Jenkin’s costume design for Oz features four crew members dressed as puppeteers, to mirror the ensemble actors who operate the puppets in the land of OZ.”
Despite the cohesion audiences may experience while watching the two distinct shows, there are key challenges creating two sets for one single stage.
“Designing sets that can live together backstage and allow room for the offstage traffic patterns of each show – maximizing the space and its capabilities. Designing a floor treatment that will work for both shows. Outside of those two considerations, I try to think of them as completely separate entities as much as possible,” Smith explained. “The only thing these two shows share is a floor treatment. That just needed to be something that could be muted enough for Kansas and Shawshank Prison, but take light well for the more colorful land of OZ.
“The hope is to always be as flexible as possible for discoveries made during the rehearsal process. But sometimes the set is built before rehearsals really start, so the goal is to hopefully iron out large potential issues beforehand while allowing space for potential adjustments.”
