The Set

It’s time to paint the set. Last week I finished scrimming – pasting muslin over the wood panels. This makes the paint hold better and less subject to scratching when, as inevitably happens, it gets moved between venues and stages. This is a feature of touring theatre – everything has to be built durably, whilst trying to balance that with the weight and size, mindful that the stage panels get carried and moved around on a daily basis. Too heavy and the cast curse the designer; too light and things wobble around on stage and get damaged – and the cast curse the designer.

So, paint to be mixed; ladders in place. Only trouble is I’ve got meetings and other jobs to fit in. It’s the first two days work to get started.

The design of the LLF set is interesting. It’s almost the perfect model set for demonstrating the range of techniques used in our work. Stage left is an area representing the hutongs, the old and characterful courtyards of old Beijing where Guo Yue grew up. This part of the stage is animated by masked performers. Stage right we have two puppet stages, one behind the other. The rear stage is used for hand puppets about a foot (30cm) high; the front stage for table top puppets about 18 inches (45cm) high. This also acts as a ultra-violet stage area for one scene. Then between the two is a screen which is used for back and front projections – both film and animation sequences and live shadow puppetry.

Now I’ve just got to go and do it…

Bob Frith (Artistic Director of Horse + Bamboo Theatre)

Set designer for Little Leap Forward