Designed and painted by Brian Willis. Sets constructed by Sean Magee
Will be performed by Coleraine Provincial Players, (2010)
THIS PAGE UPDATED ON
August 4, 2009
|I propose to cover the designing,
constructing and painting the sets for this show in greater detail than
most of the musicals depicted on this web site.
|So I start with some NOTES (Page one)
- As with most amateur/community Companies we are limited in off-stage
space so for this show will try to keep flats and built pieces to a
minimum and rely mainly on backcloths.
- Sean and I have read the script, Sean has met the Producer and discussed
the requirements of each scene.....
- Space needed for Dancers?
Any notices, signs?
- Any hide-behind pieces? (Always a "must" in Panto)
- Scenes in order of priorities
- Elements referred to in script (Spyglass hill etc)
Then together, over coffee, Sean and I have sorted out the approximate
- As I read the script and research, so I jot down notes of possible
elements which could into each scene. Not all of these will be used.
So each scene in the following pages starts with a list of possible
elements. These ideas are jotted down as I think of them and end up
on the back of envelopes etc. Listing them as I do here makes them look
a bit "official".
- The elements are listed here not in any particular order of importance.
I might add to these Elements as the work and sketches progress so keep
an eye on the "This Page Updated" panel at the top of each
- Beside some of these elements I will add notes for your benefit describing
the thinking behind some of the items listed.
- Each item really needs a question mark after it.
- I include a scale cartoon figure beside each backcloth to help me
DOUBLE SIDED FLATS
We discussed using double sided flats for the wings to save storage space
off-stage. This would make each flat heavier of course. However double
sided flats would not be a problem if both sides had straight edges. For
one thing this would mean we could use canvas which would make them much
lighter instead of the usual plywood or hardboard.
Unfortunately I like to have what I call "profile" edges i.e.
irregular edges which follow the painting (see for instance the edges
palm trees on the Desert Island set) Imagine a back to these
which also has profile edges which means when you turn the flat round
the back profiles will be protruding into the off-stage space, eating
into that space and also, bring irregular, vulnerable to being broken
off by cast members squeezing past off stage.
Another problem is how to support a double sided flat?
It is do-able if the tops are straight, as often a slide arrangement is
That's a spring at the top which enables the slider and flat to be swiveled
round for exact positioning.