By Val Bogan
Director, The Mouse House
One of the most rewarding elements of a production is working with their design team. As Directors, we are consumed with creating an environment that is believable and does justice to the words on the page.
We jump out of the post as soon as we hear that we have a play to ensure that we have the best designers that can easily and efficiently interpret our vision of the play. We walk a fine line between designing everything ourselves and letting our designers well… design. Honestly, it’s not always easy to let go.
In the case of The Mouse House I’m thrilled with the design team I have assembled. I met Andrew Hamlin in the hallway one day and asked him if he would be interested in designing my set. His answer: “That’s the one that I was really interested in – YES!!!”
Now Andrew is a busy guy. He has already done a sound design this season and has another one looming. So when I asked him, the fact that he didn’t hesitate was significant.
I explained my idea for the set to Andrew and his response was, “let’s go for a little ride in the car, shall we?” Confused but trusting, I agreed. He took me up to his cottage in a beautiful spot on the Quebec side of the river. There were two cottages there (yes, I wish I had photos but I don’t – I’m hopeless, I know!). One had a rustic look about it with dark wood panels, a small side entrance, surrounded by trees, with the sound of water lapping close by. (Exactly as I had envisioned Carson’s secluded cabin) The other looked out onto the water with a perfect view of the Gatineau Hills in all their late summer splendor. The area is absolutely perfect actually.
A set design idea was born! This led to a discussion about the size and surroundings for The Mouse House. We must also think about how the rooms are going to look and what acting elements must be present in the set. It’s a huge job!!
As we discussed the set, we acknowledged that lights and the areas in and around the cottage would be of equal importance. Now I’m a very lucky girl, I admit that. I really did manage to get an “A”-list team. David Magladry, lighting designer extraordinaire has already come up with some wonderful ideas for lighting this set. He will add the eerie element that I’m looking for. A thriller has to be just right as you can imagine.
Rounding all this off is Nadine Cheney who has agreed to paint a huge backdrop for the play and to work with Andrew to get the set dressing just right. She is an artist of amazing talent!
Set designs begin with a small idea and grow into the wonder and magic we see on stage.