For Ohio University's production of A Flea in Her Ear
style and believability are central to success and optimal audience understanding.
Set importance depends on the particular show, said Jeff Byrd, set designer for A Flea in Her Ear. Some shows can be performed on a bare stage, but it really depends on the interpretation of the director and set designer.
This particular play involved more intricate design, based on the short-lived art nouveau period.
This is a realistic set of what we would find in Paris France Byrd said.
The design process usually begins two quarters prior to the show, and involves weekly design and production meetings between the director and set designer.
Ultimately
the director has the final say on everything
Byrd said.
Although imagination takes precedence in the early stages of design, budget is always a concern. The Ohio University School of Theater usually allocates about $2,000 for set construction of each performance, which includes funding for paint supplies.
The set designer is responsible for researching and creating a painter's elevation, which is a flattened version of everything that needs to be painted to show the paint crew exactly how everything should be painted, said Emily Greene, scenic charge, who is head of paint for the year.
Paint is purchased in basic colors and mixed to match the desired shades based on light reflection and opacity. The lighting design is built from the set design, and is subject to the criticism of the set designer and director, Byrd said.
The construction and placement of the props, which includes furniture and wall decorations, falls under the command of the set designer as well, said Tom Fiocchi, props master.
The intricacy of the entire process has left the set crew - technicians, artisans and directors - relying on each other to achieve the desired aura of the set as a whole.
It's really a huge team effort
Byrd said.
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Cicely Gilbert and Meghan McNamara
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