The scenic for Carrie the Musical at Plymouth State University employs a variety of technologies to move the narrative from place to place. There is a basic unit set that is the ruined gymnasium. This setting is modified to become other settings by means of scenic units that move in and out, and walls that pivot and jack-knife. There are also sequences in the show that will rely on projection mapping and heavy usage of lighting.
As always, the Educational Theatre Collaborative put a huge number of people on stage. Every January for over twenty years, this company has put up a spectacle with high production values and community-based cast that often exceeds one hundred people.
With so many people on stage, the set went almost all the way to the back wall. This projection installation upstage had to accomodate a very short throw-distance onto a rear-projection cyc, creating a very large image. There was no unlit buffer zone in front of the cyc. The actors frequently went right up to it. Media had to be high-contrast, and bright. There was also a cutout book-shape that flew in downstage, that had to be animated with projections, to follow along with the narrative early in the show.
In addition, with so many in the cast, tech had to be efficient and fluid.
This design for The Wedding Singer draws heavily from my earlier design at Jean’s Playhouse. The basic functionality and look of the set is the same.
The projection installation is more sophisticated this time around, allowing a bigger background, with different proportions. There was much more animation involved this time, especially in scenes relating to the Delorean, and the Las Vegas Strip.Storyboard in PDF Format: Front-View Renderings and Scene-by-Scene Groundplans (32 pages)
Below: Front of House View (animation), with notations
Digital set rendering for Man of La Mancha. Stone arches, flicker-flame torches, a fire burns under a staircase.