Set for Othello

I really liked the set design. It is a spin on the oft-used lego-block platform configuration of several HTP sets, with some major alterations that made it actually look very different. First of all, the platforms are not fronted, instead painted with dark wood stain to make them look more like real structures. The open air beneath them gives them a very different look, as does the stain. I also approve of not having to deal with fronting, or having to use the router to cut the fronting to size.

I have experience with wood stain, so I got to lead the crew on that particular task. It really isn’t hard, just paint it on in the direction of the grain and wipe off the excess, so once you know that it’s easy. We didn’t bother with multiple coats because it doesn’t have to be perfect for the stage, besides the fact that it had to be dry enough to rehearse on by the next day. I’ve always loved the look of stained wood (so much more elegant and expensive-looking than when painted) and it ended up quite lovely. To steampunk it up, we bought metal corner pieces that we screwed onto the front edges of all the platforms.

Also to that end were the streetlamps. These were especially cool given all the various theatrical departments contributed to them—lighting, props, and set crew. They found these great lantern tops which were placed on top of PVC piping spray painted black on the poles and bronze at the joints, with a cord running down through them that when plugged in actually made it possible to turn them off and on. They looked really lovely burning softly up there, and I am pleased to say that they will be saved in the Hold Thy Peace storage locker for possible use in another show.

The crew working on the show this time around was fabulous, both the dedicated techies and the actors doubling as set builders. Plesser in particular must be commended for his work as master carpenter, especially since he gave his all at that and then turned around and threw himself into four amazing performances as Othello. He is shaping up well in the position and is learning to be a real crew leader, so props to him. As a matter of fact, we had a remarkably competent group of people around, most of whom had developed some technical theater skill in building, working with lights, or anything else that needed to be done. It was a lucky thing, too, as some of the materials we used ended up using turned out to be harder to work with than what we were used to, such as the four-by-four legs that were so dense they required a lot more strength and finessing than the two-by-fours to attach to the platforms.

The only real criticism of it is the use of the moving bits. This is the first dynamic set we've had since Hamlet, which consisted of metal painters scaffolds that rolled around. They were reconfigured in various positions to represent different places in and around the castle of Elsinore. In Othello, there was a freestanding platform that represented the bed, among other things, a bridge in the middle that pushed in and out of the stage right platform cluster, and a low roller that came out of the front of that side. While the bed mover worked pretty well, I feel like the other two didn't do a huge amount to change the shape of the set. The front mover in particular didn't much affect anything. But I like the idea of dynamic sets, so I think we need to work this into the design with more mind as to how it will be used in the blocking and what change it will make to the look of the set.

Turned out not half-bad, now, didn’t it?

So I feel like a real stride forward has been made in HTP set design and construction. Hopefully what was learned here will be used to push the envelope even farther for the next show.