ORPHEE ET EURYDICE CW Gluck Grand Rapids Opera. Design Prospectus. Set. Main Structure

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Rudolph Douglas
5 years ago
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ORPHEE ET EURYDICE CW Gluck Grand Rapids Opera Design Prospectus Set Main Structure The core design is of a secondary floor created to conjure the image of an island, that allows for myriad lighting

This structure is created with shipping pallets such as those pictured here: These should be placed together to form the basic shape of an overall, at its widest 35'x22', with the slats going in

1 ORPHEE ET EURYDICE CW Gluck Grand Rapids Opera Design Prospectus Set Main Structure The core design is of a secondary floor created to conjure the image of an island, that allows for myriad lighting effects to imply different locations and atmosphere. This structure is created with shipping pallets such as those pictured here: These should be placed together to form the basic shape of an overall, at its widest 35'x22', with the slats going in various opposing directions. The edges of the pallets should be cut and left uneven to create both an unfinished and continuing image. The finish can be left natural (pallets can be sourced used and need not be perfectly clean), though some may require sanding to make safe for performers. A general look/shape should be like this: etc. With edge finishing like this:

Around the parameter of the edges should be dumped a small quantity of white sand to look as if spilling out from underneath (see above images).

2 The above images also reflect how the main object should be dressed and then lit. The pallets should be placed over very thin wood panels (cheapest possible) that are painted white so as to reflect light. Around the parameter of the edges should be dumped a small quantity of white sand to look as if spilling out from underneath (see above images). A single line of LED light tape should go around the the underside of the pallet slats, all around the parameter. When lit this allows the shape of the pallet-island to glow. This could be a single color white LED. Under the pallets, on the wooden boards, should be laid LED tape-lights, also one color is fine, that when lit will reflect underneath and light the entire playing area from below. The giving two ways of internally lighting the main object. In addition two large pieces of (faux)-china silk are needed. One is black and one is a light-sky blue. -Black is a rectangle 25'x40' and is laid out in Act II and III over the pallet island and used like water. -Blue is a trapezoidal piece 40'x48'x29'. The short width is hung on line-set 20, the long width is placed on the deck, 4' in front of the cyc. Its attachment to the grid should be such that is pulled down by cast members, and its attachment to the deck should be with stage weights. This is placed during a closed curtain between acts II and III, but pulled down, and eventually off, as part of the action. Color reference: *The material used for this need not be real silk, but it must be as light as possible to allow for the two water effects. Also needed is a length of carpeting (general indoor-outdoor in a dark blue) 2'x10'x? (whatever length crosses the pallet-island at the requisite angle). This is the path our of the underworld, rolled out and back up onstage, and should look generally like this, also in color:

3 100 fake white lilies with long stems are required. The should look like this and be approximately 3' in height; and also a number of working light-bulbs: one hung alone at center stage for Act I, and several (hung throughout...perhaps twenty) flown in for Act II. The pallets should be drilled with 175 holes the exactly match the diameter of the flower stems so that these can be planted and picked in the boards in Act II.

4 Costumes Chorus loose fitting, light linen-look...timeless, both modern and ancient. They can vary greatly in style, but all loose and flowing. Styles like these for women could be dresses or two piece ensembles like: Men could be like (thai fisherman pants for some of the men or women would be a great look):

The color scheme for chorus costumes should be in beiges, various browns, dark greens, navies, and a very few light blues, though the balance should be much more on the darker side with the lighters

The chorus also need floor length drapes made of sheer fabric in both black and cream for each member. These should attach some way at the top to avoid slippage.

His pants should similarly in the same world as the chorus and loosely fit, but slightly more contemporary in style. The colors of the pants can be an off-white, while the shirt can light blue.

5 The color scheme for chorus costumes should be in beiges, various browns, dark greens, navies, and a very few light blues, though the balance should be much more on the darker side with the lighters colors as exceptions. For the final act each member of the chorus needs an accent in the same red as Eurydice's dress (see below). These could be scarfs, hair ribbons, sashes, etc. The chorus also need floor length drapes made of sheer fabric in both black and cream for each member. These should attach some way at the top to avoid slippage. Eurydice also needs a cream one, but hers should be removable on stage. Orphee Should be in a similar fabric to the chorus, but with a button down more modern shirt, still loosely fit. His pants should similarly in the same world as the chorus and loosely fit, but slightly more contemporary in style. The colors of the pants can be an off-white, while the shirt can light blue. Amour Should a simple bright white dress, like the chorus, flowing, but very young feeling. It should clearly look a little nicer and more detailed than the chorus. It needs to allow her movement, and she should feel comfortable and look cute in it. She also needs a small pair of wings like the ones shown below, that she can rip off each wing separately in the last Act. They should look high-quality, but also clearly crafty (as if homemade in Victorian times).

6 EurydiceAn elegant red dress, more formal than the chorus, but simple and not a gown. Most importantly it should be a style that the singer looks beautiful in and which isn't short. The dress is used in act I as a prop that Orphee holds in his hands and drops eventually into the orchestra pit (we need a way to catch this note), so there should either be a duplicate dress or one that is ironed and dressed during intermission. Also she should have an identical dress, in the same shade as Orphee's pants, but with a red accent (sash?) for the final act. Lights General thoughts The set itself gives us underworld lighting from below for Acts II and III/IV. I would like to have foot lighting for Act I if at all possible for some shadow effects. For Act IV at least side-lighting will be important to light Orphee and Eurydice but not the pallets at all. The blue fabric is hung for Acts II and III/IV and might cause some lighting difficulties, where side boom lighting would be useful...general a dance approach to lighting is more appropriate for the look of the show. As much as possible lighting should be specific with edges blurred to the playing area. The except to this might be act III where we are suddenly bright for the first time. A range of shades/colors on the CYC could be important. Of course the light-bulbs are also available for Acts I and II, though the are more for affect than function I would think.

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