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ArtsEntertainment
The Georgetonian
Pickering designs sets for “Les Misérables” By ALEX COURTENAY
show should look and feel. I wanted to meet those expectations as best I could, but I also wanted to bring my own indiRobert Pickering was recently vidual touch to the design. I jumped hired by UK Opera/Theater to design right in to the anticipation (and hope) of and build the set for “Les Misérables.” getting the job and began preliminary Unfortunately, the show is over and research including making arrangethe set has been striked. But I did have ments to see the current national tourthe opportunity to ask Pickering about ing productions —which happened to his time and experience with the “Les be in Canada at the time! I had about Misérables” show. eight weeks to immerse myself in What do you teach at Georgetown research, design, construction, paintCollege? ing, hiring crews, rental facilities, purI teach THE227, which is the tech- chasing materials, keeping track of nical theater or production course in expenses, etc. There was lots of artisthe department of theater and film. We tic work but lots of practical business focus on the behind the scenes elements work as well. It was a bit consuming, of live theater with an emphasis on the but I had lots of very good help along five main areas for the theatre: scen- the way! ery/properties, lighting, costumes/ “Les Misérables” is such a wellmakeup, sound and projections. known musical, how did you put your How long have you designed and own personal touch on the set? built theater sets? There were certain elements of the I have been designing, building and touring production that the producpainting scenery for nearly 30 years. ers were really attracted to, and there How would you describe your were beautiful, grand, cinematic eleexperience working on a musical like ments that the movie brought forth that “Les Misérables”? would be out of scope for use on the The show is rather iconic with stage. These existing productions were worldwide recognition and many loyal among my research. I wanted to find fans. Of course there was also a recent, the essence of what made these “looks” award winning, major motion picture work and build from them - to present version which brought on many new them in a way that was not a repeat but fans. I knew there would be high but more of an inspiration. I also wanted undefined expectations for how the the story, which has many scenes, characters and plot lines, to be understood by the first time viewer. I wanted the scenes to be as clear as possible to them. What was the creative process of coming up with the set design? The creative process required lots and lots and lots of research. I looked at many photos of Paris by Source: Matt Goins/www.Kentucky.com Pickering wanted “Les Misérables’” storyline to photographer Charles Marville and also the paintings of be understood by first—time viewer. Eugene Delacroix and others. Staff Writer
I viewed three of four film versions of the story plus the latest musical version. I listened to different cast recordings over and over to get a sense of the flow of the story and the emotional dynamics. When I actually started to gets things on paper, I started with a basic ground plan of the set and Source: Matt Goins/www.Kentucky.com then developed and tweaked The cast appears in front of the gorgeous sets. it after meeting with the producers and director a few times. I shared ideas and thoughts We are always welcoming people about the look, feel and colors of the to participate in our productions here show. Further on in the process, I built on campus. I think that working on as a scale model of the set and presented many shows as possible is the best way it to the cast. I believe the model helped to gain experience and knowledge. Of the director, the cast and myself. I had course the THE227 class introduces a more clearly visual understanding a lot of material from design theory of the scenery, the levels, the moving to theatre and stage types to how to pieces, so they were a bit more pre- analyze a script for its design requirepared for what they were going to have ments. But it’s not all about theatre to move around on. classes either. Good understanding of What other productions, plays, art, art history, architecture and basic musicals and/or theaters have you construction techniques are essential, done/worked for? but I also think it is equally important I have worked on hundreds of for designers to understand acting, as shows in numerous venues, including it is imperative for actors to understand the Santa Fe Opera and Utah Shake- the technical aspects of theatre. I don’t speare Festival, and I have built and think that either element can truly painted sets that were presented on flourish without understanding, apprestages in Texas, Georgia, Florida and ciating and supporting the other. California. “Les Misérables” is probably one of the largest I have worked on — over 25 scene changes! — but one of my favorite productions was Georgetown College’s fall 2012 production of “The 39 Steps.” I never got tired of watching that show, the set changes and the numerous characters that the actors transformed into each night. Do you have any advice Source: Matt Goins/www.Kentucky.com for students who are interJean Valjean shares a special moment with ested in designing and buildhis young ward, Cosette. ing sets?