Like the previous play the set was large and had many challenges to add extra fun.
To start with the hydraulic stage lift in the front of the stage broke.
Because of a hydraulic fluid leak or other mechanical malfunction the lift was stuck just above house level and I was force to build platforms that would come up to the stage level before I could then start building the real set for the show.
Most of the set was taken up with the bedroom of the house with a little side room visible on Stage Left and wrap around veranda that came all the across the back of the set and down on Stage Right.
The main platform of course had to be raked (slanted) was about 16’-0” x 30’-0”.
Being young, foolish and over eager I over-designed the sub-structure and built an entire open wooden frame with the required angled legs first and then we put the stock platforms in place and attached them.
After the play was over I thought it would be good to save time and materials in the future and had the 4’-0” x 16’-0” frames covered with plywood and added them to our stock.
They would be used many times over the coming years and student would often bitch about moving them especially when they had to carry them up the stairwell when the stage lift was not available.
They got used many times and most are now gone after being altered many times to fit a current show’s needs but I think I may still have one at the bottom of our platform pile in the basement.
As much work as the platform was, the walls took even more time and effort to get done.
At this time, 1984, we were still using traditional 1x3 canvas covered flats and the scene designer had me remove all of the fabric from the frames.
The walls, 20’-0” high, were then covered with numerous 1’ slats of ¼” plywood that had been ripped down.
Again this was at a time before we used lauan plywood which would have been a lot lighter and easier to use.
I also had to make about eight to ten tall columns with 1x2 pine board strips to mirror the slats on the walls of the set.
Some of the columns were still in the basement until a few years ago when they were stripped down and the wood recycled into a new show.
Windows and doors were also made just for this set.
I also used some stock doors on the set that the scene designer had me cut slots into the door panels and I was a bit shocked when he took a hammer and smashed out some the pieces.
We also hung two ceiling fans over the main room with longer blades that we made so that would better fit the scale of the set.
But wait there’s more!
Behind the Cyc there was a lighted moon box that would be raised up a little bit at a time as the play progressed.
The moon box was attached to our then new Genie lift, a hand cranked Genie.
When it first came everyone thought it was great and it made things easier, well at first that is.
To rise up you would have to just use you two hands and crank yourself up.
Easy, no problem; well the first time at least.
Each time you needed to move first you had to crank down, be moved, then crank back up and then repeat and repeat.
After a few times you arms would numb and you could not use it anymore.
After a month or so the gear works got gunked up and it was even harder to use.
When it was replaced some time later with an electrical model it was a welcome addition.
To dress the set the scene designer went out along the Erie Canal and cut some bushes and brought them back and dressed the columns on the veranda of the set.
This was nothing new for him to do but what it unique for this production it that over the course of the production the plants continued to grow and both leaves and flowers bloomed but most had dies by the time of the last performance.
Just before the show opened the scene designer glued pieces of tissue paper behind the slats on the set that caught the light as it came through.
He told me that it was his gift to the lighting designer who of course did not like it but I think it made the set look great.
Most people who knew the scene designer at that time might tell you he was a bit wacky, odd or whatever, but this was one of his better sets that I worked on.
So if that wasn’t enough there is yet even more ! ! !
In the space upstage of the set and in front of the Cyc some special effects were used.
The lighting designer hung down from a pipe several electrical wires that had little homemade firework bundles attached that were fired off during the play.
They were made with model rocket launcher squibs, flash paper and a small amount of real firework “fixings”.
They looked great, but of course were a fire hazard and I had to seal in the back of the platforms after seeing sparks come under the set at the first set.
Somehow we did not burn down the theatre and everyone survived the play.
The production was well received and of course it looked great too.
It was a ton of work, crazy most of the time but lots of fun.
Note that the cast parties were numerous and fun.
Soon after the play was over the lighting designer got a letter telling him that he did not get tenure.
Needles to say he was crushed and the next year would be hard for him as it would be his last.
I did not know it at the time but things would soon change for me in ways I did not plan or see coming.
