Designing Theatre: The Comedy of Errors

Summary

Bunny Christie, a set and costume designer, explains her creative process for theatre productions. She meticulously analyzes scripts, noting every scene and important details. Her design work starts with gathering ideas and images to create a visual language, followed by constructing scale models to visualize the set. Christie highlights the flexibility of working with simple models, allowing for quick adjustments. She discusses her work on 'Comedy of Errors,' where she designed a vibrant, multi-level set. Christie emphasizes the magic of theatre, where audiences suspend disbelief, contrasting it with the realism of movies.

Takeaways

• 🎭 The set and costume designer oversees every visual aspect of a theatre production.
• 📝 The designer carefully analyzes the script, noting key details like scene settings, time of day, and special actions.
• 📑 Bunny Christie starts her design process by creating a grid to track the details of each scene.
• 🎥 Inspiration is drawn from films, photos, and various collected images to create a visual language for the show.
• 🎨 The designer presents several concepts for a production before narrowing down ideas based on feedback.
• 🛠️ Many theatres work with limited resources, which can encourage creativity and imaginative problem-solving.
• 🏗️ Bunny Christie prefers moving quickly to building scale models instead of doing extensive sketches.
• 📐 Set models are built to a 1:25 scale, and a ‘white card model’ helps test and modify designs efficiently.
• 🌆 The design for ‘Comedy of Errors’ transitioned from a dockside setting to a vibrant cityscape inspired by Soho, London.
• ✨ Theatre allows for a suspension of disbelief, creating magic and moving beyond the constraints of realism.

Q & A

Who is Bunny Christie and what is her role in theatre?

Bunny Christie is a designer of sets and costumes in theatre. She is responsible for overseeing the entire visual look of a production, making decisions about everything seen on stage.

What is the initial step Bunny Christie takes when she begins working on a new script?

Bunny Christie starts by methodically creating a grid in her sketchbook, where she notes down every scene, the characters involved, the time of day, the season, and any special actions or requirements in the scene.

How does Bunny Christie approach the design process after analyzing the script?

After analyzing the script, she explores several directions by gathering images and references, and she may present three different ideas for how the production could look. She works closely with the director to develop a shared visual language.

What challenges do designers face in smaller theatres compared to larger institutions like the National Theatre?

In smaller theatres, designers often have limited resources and financial backing, which requires them to be more imaginative and creative with their designs.

How did Bunny Christie and the director of 'Comedy of Errors' decide on the setting for the production?

Initially, they considered setting the production in a container terminal, but the director later decided it should be set in the center of the city, resembling a vibrant area like Soho in London.

Does Bunny Christie rely heavily on drawing during her design process?

No, Bunny Christie does not focus heavily on drawing. She moves quickly to building scale models of the set, working within a model box to visualize the design in 3D.

What is a white card model, and why is it important in Bunny Christie’s design process?

A white card model is a basic, detail-free model of the set layout made of white card. It allows for quick changes and adjustments, such as altering the height or adding doors, without much time or effort.

What is the scale of the models Bunny Christie works with, and how are they used?

Bunny Christie works with models scaled at 1:25. These models help the design team agree on exact details like colors and textures, ensuring everyone is on the same page about the final look of the set.

How does Bunny Christie create different atmospheres within the set of 'Comedy of Errors'?

In 'Comedy of Errors,' she created a dark, grimy dock setting with scaffolding and chains for the storm scenes. She then transformed the space into a cityscape with streets, alleys, and shop fronts, using scale and levels to create dynamic spaces.

What makes theatre design distinct from film design, according to Bunny Christie?

Theatre design allows for more creative freedom and magic because it is not tied to the realism and naturalism of film. In theatre, both the audience and the performers agree to suspend disbelief, creating a unique and imaginative experience.

Outlines

00:00

🎭 The Role of a Theatre Set and Costume Designer

Bunny Christie introduces herself as a set and costume designer for theatre productions. She explains that everything seen on stage is chosen by the designer or someone on the design team. Their job is to create the overall look and feel of the production, considering every element in the performance space.

📝 Preparing for a Theatre Production

Bunny describes her initial process of working on a new production. She organizes the script in her sketchbook, making note of every scene, character, time of day, season, and special actions. She uses this methodical approach to ensure she understands all requirements and can prepare adequately for the design process.

💡 Brainstorming and Developing Ideas

Bunny discusses how she generates ideas for a production, often presenting multiple concepts to the director. She collects images from films and photographs, creating a visual language that both she and the director agree on. This collaboration helps hone down the final design.

🎨 Creativity and Constraints in Theatre Design

Bunny acknowledges that not all theatres have the same resources as larger institutions like the National Theatre. She highlights that limited resources can encourage creativity and imagination, making the design process both challenging and enjoyable.

🏗️ Shifting Ideas for Comedy of Errors

In this anecdote, Bunny recalls working on the production 'Comedy of Errors.' Initially, the setting was designed around cranes and containers at a terminal. However, after further discussions with the director Dominic, they shifted the setting to the bustling, vibrant atmosphere of central London, specifically resembling Soho.

🏠 Model Building and Set Design Process

Bunny talks about the process of building models for theatre sets, comparing it to the work of architects. She mentions how some designers prefer sketches, but she personally moves quickly to building scale models. The 'white card' model allows for rapid adjustments, serving as a flexible blueprint for the final set.

🎭 The Finished Model of Comedy of Errors

She describes the finished 1:25 scale model for 'Comedy of Errors,' explaining the different elements. The set begins in the docks during a storm, with scaffolding, ladders, and chains creating a grimy atmosphere. The Olivier Theatre's large stage allows for multiple levels of action, with actors positioned high above, enhancing the drama.

🏙️ Transition from Docks to City Streets

The set transitions from the docks to streets and alleys, where storefronts and stairs add depth to the environment. Bunny describes how actors could interact with the set, hanging out of windows or navigating the stairways, creating a lively and layered world on stage.

🏡 The Appeal of Scale Models in Theatre Design

Bunny acknowledges the allure of models, which often resemble dollhouses and captivate many people. However, she emphasizes that for her and the team, models are merely tools to ensure everyone is aligned on how the final set will look, including specific details like color and texture.

✨ Theatre's Power to Create Magic

Bunny reflects on the unique magic of theatre, where both the performers and the audience agree to suspend disbelief for the evening. Unlike film, which typically strives for realism, theatre allows for fantastical elements, providing a more imaginative experience. The design is essential in shaping this magical world.

Keywords

💡Set Design

Set design refers to the creation of the physical surroundings in a theatre production. In the video, Bunny Christie emphasizes that the set designer is responsible for choosing everything the audience sees on stage, creating a visual world that complements the story. For example, she describes the use of scaffolding and chains in the 'Comedy of Errors' to depict a grimy, industrial dock setting.

💡Costume Design

Costume design involves creating the clothing and attire that characters wear during a theatrical performance. Bunny Christie mentions that she is also a costume designer, and costume design is closely linked to set design in creating the overall look of the piece. The costumes help to reflect the time period, social status, and personalities of the characters on stage.

💡Visual Language

Visual language refers to the shared aesthetic or style that is created through design elements such as set, costume, lighting, and props. Christie talks about working with directors to find a visual language that they both like, using images from films and photographs to explore different possibilities. This language communicates mood, time period, and atmosphere to the audience.

💡Model Box

A model box is a scaled-down representation of the set, used by designers to visualize and plan the layout of the stage. Bunny Christie describes her process of quickly moving to the model stage after initial ideas, where she builds scale models to show how the set will look and how it can be modified before construction begins. It’s a practical tool for her design work.

💡White Card Model

A white card model is a simple, undecorated version of a set model, often made from white card. It helps designers experiment with the layout and make changes easily before adding details. In the video, Christie mentions using white card models to test different configurations, such as adding doors or adjusting heights, before finalizing the design.

💡Scale

In theatre design, scale refers to the proportional relationship between the model of the set and the actual stage. Bunny Christie notes that they work in a 1 to 25 scale when building their models. This allows for detailed planning and visualization of how the set will fit into the theatre space, ensuring that every element is in proportion to the actors and the stage.

💡Scene Breakdown

A scene breakdown is a methodical process where a designer goes through the script, noting important details such as characters, time of day, and key actions in each scene. Christie explains that she creates a grid in her sketchbook to keep track of these elements, which helps her plan the design of the set and costumes for each scene in a production.

💡Imagination and Creativity

Imagination and creativity are central to theatre design, especially when working with limited resources. Christie mentions that some theatres don’t have the financial backing of large institutions like the National Theatre, so designers must be more creative. She finds this aspect enjoyable, as it encourages finding inventive solutions to design challenges, making theatre feel magical.

💡Suspension of Disbelief

Suspension of disbelief is the audience’s willingness to accept the fictional world presented on stage as reality for the duration of the performance. Christie notes that theatre operates in a realm where everyone agrees to this concept. Although the audience knows what they see isn't real, they invest in it emotionally, allowing the magic of theatre to unfold.

💡Theatre vs. Film

Theatre and film are different forms of storytelling, particularly in their approach to realism. Bunny Christie contrasts the two, pointing out that while films are often grounded in naturalism, theatre is more flexible with its representation of reality. In theatre, designers can take creative liberties, using abstract or symbolic designs to evoke emotion and meaning, which wouldn’t be possible in film.

Highlights

Bunny Christie explains that every single item on a stage is chosen by the designer or someone on the design team.

Christie begins her design process by methodically breaking down the script, noting scenes, characters, time of day, and other key details.

She often spins off in several directions, developing multiple visual ideas for the production.

Christie collects films, photographs, and various images to inspire a visual language for the production.

She highlights that working in theatres without vast resources can spark more creativity and imagination.

Christie worked on a vibrant set idea for a production, initially inspired by cranes and containers, but later shifted to reflect an urban setting like Soho.

Unlike some designers who focus on sketches, Christie moves quickly to constructing scale models of her sets.

She describes building white card models, which allow for rapid adjustments in the design layout before adding details.

Christie worked on a model for 'Comedy of Errors,' creating a dark, grimy world in the docks with scaffolding and ladders for the storm scenes.

She leveraged the large Olivier theatre space by having actors two stories up, shouting down to create dynamic staging.

Her sets for 'Comedy of Errors' featured chains, ladders, and various levels, enabling actors to interact with the environment in creative ways.

The set transitions into a street and alleyway scene, complete with shop fronts, stairs, and windows where actors can perform.

Christie acknowledges that while people love model sets, they are primarily a tool to ensure everyone agrees on the final design.

She emphasizes the importance of detail in model sets, ensuring that colors and finishes are precisely as intended.

Christie contrasts theatre with film, stating that while movies focus on naturalism, theatre offers the opportunity for magic and suspended disbelief.

Transcripts

'I'm Bunny Christie and I'm a designer of set and costumes in theatre.

'So when you go and see a show in the theatre, every single thing

'that you see on the stage has been chosen by the designer

'or picked by somebody on the design team.

'So we're looking after the whole look of the piece.'

When I first get a script, when I'm first working on a piece,

I do a kind of a grid in my sketchbook,

and I go through the script, and I'm very sort of methodical,

and I write down every single scene, who's in that scene,

what time of day is it,

what's the month or the time of year, what's happening in that scene,

'and then any sort of special notes on it,

'like if there's something particular that happens, like...

'I don't know, that somebody falls over

'or that somebody has to come in through a door.'

Then you'll kind of spin off in several different directions.

So I might come back to them with maybe three different ideas

of how a production could go.

And I'm looking at films that I've seen or photographs.

I just collect lots and lots of images of different ideas.

And we're just trying to get a kind of visual language that we both like.

Then I can go away and hone down and develop.

'Most theatres of course aren't like the National Theatre,

'because you don't have the resources and the financial backing and you do have to'

often be more imaginative, maybe,

or be more creative with limited resources.

And that's... that can be really fun.

I remember on Comedy, Dominic spoke to me

about the look and the feel of the production.

He wanted something that was really vibrant,

so I had lots of images of nice kind of cranes and containers,

and we worked for a while, actually, on the idea

of it all being set in those... like in a container terminal.

And then Dominic came back and said,

"No, I really think it needs to be in the centre of the city."

And it should feel... In London, it would feel like you're in Soho.

Some designers do quite a lot of drawing,

so they'll maybe be doing lots and lots of sketches and drawing.

I tend not to do that. I quite quickly go to the model stage,

because we build scale models of our sets, like architects do, in a way, really.

So I'm quite quickly, then, working in the model box.

And then we do what we call a white card model,

and that's literally what it is - it's a model made of white card

and it shows exactly the layout

and we can change it really quickly, because it hasn't got any detail on it.

So if we suddenly want an extra door in something

or we want to make something... push something further off

or make something taller, we can make those alterations quite quickly.

This is the finished model of Comedy of Errors.

And so this is all built to scale.

We work in 1 to 25.

And at the top of the show,

we were in... in the docks

and then in a storm.

So we were in this kind of scaffolding world - a really dark,

grimy, oily world.

We had lots of these ladders and it all looked like scaffolding

and we had chains hanging off stuff

and people up on all of these levels.

'In the Olivier, it's a really big theatre'

and it was great to be able to get people two storeys up,

'hanging over, yelling down. There was people all over, dotted around.'

These could shut, and then these were able to kind of swivel.

And then you were able to go into a...

into a kind of world of...

of streets and alleys.

So you've got a kind of a shop front here

and then you've got an alleyway with stairs going up to somewhere above.

You could have people hanging out of these windows.

Lots of people really love models, because they look like kind of doll's houses

and they really, really like them.

And they are really lovely, but actually, they're just a tool for us.

They're absolutely just so we've all agreed

that that's exactly what it's going to look like.

So we know the blue door is that blue and not another blue

and that the finish of that wall is exactly like that

and we're not imagining something different.

[♪ Mad World]

(AUDIENCE APPLAUDS)

'It's the world of theatre. We're not in a world of reality.

'We're somewhere other,'

and the audience turns up and we all agree to suspend our disbelief.

We know what we're looking at isn't real,

but we are going to invest in it for the evening as being real.

It's really, really different from watching a movie,

which is generally in world of reality and naturalism.

And theatre's not like that.

Theatre, we can do magic.

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