Behind the scenes with Village Theatre set makers
Published 11:44 am Thursday, February 17, 2011
The curtain lifts, a beautiful set hangs like the art it is, and the audience sighs at the sight. The screens flip like a rolodex, a moving art gallery.
Unlike the immortal aspects of theater, such as the scripts and songs, sets have a different destiny – primarily the garbage heap.
After nine months of planning and work, Village Theatre’s technical director Brad Bixler does his best to save them for other productions.
He found a home for the beautiful front porch in Anne of Green Gables, but storing sets isn’t worth the cost, he said.
He can only hope to be as lucky with the set of Iron Curtain, a new musical “commie-dy” about Soviet Russia, which the Village’s shop will be busy building through February.
The musical, which opens March 16, tells the story of two unsuccessful American playwrights who are forced at gunpoint to write a communist musical.
Lights were used seemingly everywhere, lining the stage and filling a large hanging sign.
“Everything lights up,” said set designer Bill Forrester.
In the paint shop, artists work on large paintings of famous communist leaders, including Karl Marx. Childish graffiti of glasses and hats turned the iron-faced portraits into a work of humor.
Iron Curtain is a new musical, which comes with its own set of challenges, chief among them that things can change last minute.
“When you’re doing new work you always leave yourself a little more room and a little more money,” Forrester said. “This time around, I think we’re on fairly safe ground.”
Because most musicals require several scenes, they have to be fairly flat to fit backstage, and Iron Curtain has a fair share of scenes, Forrester said. “Flat is a fact of life.”
In a workshop, Franz uses a large Sharpie marker to make the staircase spindles appear three-dimensional. The room is larger than the stage, giving ample space for the artists to paint the set’s floor, which is laid out in tiles.
In an adjacent paint shop, an artist stands on a backdrop in his socks, while he carefully paints steal beams. His long brush stretches to the floor.
During tech week, the team uses a flatbed truck to haul the set in several trips to Village, a few blocks down the road. Although the system usually works out, Bixler also rolled awkward pieces down the road on a dolly.
Forrester began planning the Iron Curtain design in early summer with Village’s Artistic Director Steve Tomkins.
Once the design is done, Bixler’s assistant draws out how to technically build the set, much like an engineer does with an architect’s design.
Forrester said enjoys working with Village. “You know your designs are going to be executed very well.”
His work isn’t done until opening night. A veteran in the field, it’s a relief, time to move on.
For the artists, it’s a celebration, Bixler said. “Opening nights are generally a big party.”
Master Carpenter Andre Burman works on a grand staircase for Iron Curtain, which opens in March.
Celeste Gracey/Issaquah Reporter
Julia Franz, Village Theatre’s Master Scenic Artist, works on adding depth and detail to the railings on a grand staircase for the musical Iron Curtain.
Celeste Gracey/Issaquah Reporter
