Seussical Scenic Design

Seussical The Musical

Trumbull High School Scenic Design SET DESIGN Cathy Bolton Stephanie Bont Jill Clark Sam Maloney BUILDING Joe Amaturo John Leonard

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TECHNICAL DIRECTOR Matt Brackseick LIGHTING DESIGN Matt Brackseick Ariana Rojas

SEUSSICAL THE MUSICAL TABLE OF CONTENTS Project Abstract Design Process Mountainscape Jungle Of Nool Whoville Clover Field Egg Nest & Tree Hand Props

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Page 3 Pages 4 - 11 Pages 12 - 13 Pages 14 - 17 Pages 18 - 21 Pages 22 - 23 Pages 24 - 25 Pages 26 - 2

PROJECT ABSTRACT

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Through a process of extensive collaboration, the two dimensional style of Dr. Seuss emerged into three dimensional reality at Trumbull High School.

Designers, artists, builders, and the production staff committed to a vision and iteratively worked to realize the world of Seuss. From large to small, the details of this design seek connectivity, identity, and creativity, three themes which run throughout SEUSSICAL THE MUSICAL and all of Dr. Seuss’ work.

Two primary goals united the designers and production staff: to turn the whimsical two-dimensional illustrations of Dr. Seuss’ stories into a visually appealing three dimensional set; and to find clarity of place as the show transcends two worlds and multiple locations within Seuss’ universe.

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CONCEPTUAL DESIGN The original goals for the set were to transform the two dimensional illustrates of Seuss’ stories into a three dimensional world, and to provide the audience with clarity of time and place. We envisioned that the universe of Seuss would hide behind closed curtains as the audience found their seats, and in the opening number the Cat in the Hat would introduce us to a system of ramps and stepped platforms connected by a bridging mountainscape. This up-center bridge visually connected the ramped and curved platforms on stage left with the stepped and angled platforms on stage right, metaphorically representing the connection between two different worlds. Further into the show, different lighting and scenic elements could define two separate worlds and multiple locations within this universe. The two worlds, that of Nool and Whoville, would claim one side of the stage and spill over to the center, but could never fully dominate the stage because the show moves beyond these two primary locations.

DRAFT TO FINAL

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A number of details were revised and added as the show was built, though the overall design stayed true to its original form as shown to the right. Changes came about through a collaborative effort to think through all of the design details and develop a rich Seussian universe.

78" 72" 66" 60" 54" 48" 42" 36" 30" 24" 18" 12" 6"

84"

68"

76"

CENTER POINT

60" 48"

36"

42"

48"

18"

40" 32" 24" 16"

8"

52" 30"

29"

48"

12"

CENTER POINT

9" 30"

3" 10'-116

16'-65 8"

12"

.5"

7'-6" 1" 4'-18 12'-1"

SEUSSICAL THE MUSICAL UNIT SET: HEIGHTS 1.22.2017

FIXED STAGE PLOT

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1" 20'-62

20'-7"

Balancing the massing of the platforms was a challenge visually and functionally. Many iterations resulted in the final layout, as shown above. It became evident that center stage could not be claimed by one side or the other, so a teardrop shaped platform set on smart casters provided versatility. The teardrop found its function as an elevated landing in the Nool ramp system, and rolled up stage to be stored under the bridge for almost all of the other scenes, leaving center stage available for other action.

1'

7'-10"

5'

SCALE: 1/4" = 1' PRINTS TO SCALE ON 11X17

RIGHT: JUNGLE OF NOOL A system of ramps and curved landings was chosen for the Jungle of Nool to suggest a natural flow down a gentle slope.

Multiple elevations for action to occur allowed the large cast to occupy the set and be seen by the audience, and allowed the director to stage scenes which dynamically filled the space. The teardrop platform is positioned as an extension of the Nool ramps. Three tree wagons rolled on up stage of the ramps to create the jungle backdrop.

8' 2' FREE-STANDING TRUNK

2'

8' ON

AG

W EE

TR

TREE WAGON

3'-67 8"

8' ON

AG

W EE

TR

5' 3'-6"

2'

3'-6"

30"

SHIPS LADDER

SEUSSICAL THE MUSICAL JUNGLE: HEIGHTS, DIMENSIONS 1.22.2017

1'

5'

1'

5'

SCALE: 1/4" = 1' PRINTS TO SCALE ON 11X17

RIGHT: WHOVILLE

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TOWN HALL WAGON

FOAM TOWN HALL FLAT 7'

6"

HOLLOW BELOW FIXED FOAM ARCH ABOVE .84".

DETACHABLE FOAM ARCH FOAM BANISTER

FIXED FOAM BANISTER ABOVE

8' 54"

48"

42"

36"

30"

24"

18"

12"

6"

.

DETACHABLE FOAM ARCH

76" 68"

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A roll on staircase, down stage building elements, and an upstage platform wagon with building facades redefine stage right as Whoville. In contrast with the curves and ramps of Nool, Whoville is “carved out” of the mountain, consisting of stairs and angular landings which contort into a compact hillside village. Curves are then introduced in the building forms and whimsical details such as the stair banister.

5'-113 4" CURVED FOAM FLAT (STAIR RISERS AND TREADS NOT TO EXCEED TOP OF FLAT)

3'

4'

1" 104 STAIR WAGON

SEUSSICAL THE MUSICAL WHOVILLE: DIMENSIONS, HEIGHTS, NOTES 1.22.2017

SCALE: 1/4" = 1' PRINTS TO SCALE ON 11X17

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OPENING

SEUSSIAN UNIVERSE

JUNGLE OF NOOL

WHOVILLE

MCELLIGOT’S POOL

JUNGLE AND WHOVILLE

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CLOVER FIELD

END ACT 1

CIRCUS MCGURKUS

PALM BEACH

TRIAL

END ACT 2

MOUNTAINSCAPE The up stage mountain was a unifying element for the Universe of Seuss. It connected and divided the worlds of Whoville and the Nool, and served as the backdrop for all of the locations which the audience encountered.

COLOR APPLIED Ideas on color initiated with photographs of the Grand Canyon and a mountain range.

Through a process of abstraction, the warmer earth tones were translated into the citrus Seussian colors of Whoville and the cooler tones became the Jungle of Nool.

FINAL APPEARANCE

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The up center bridge and mountain allowed the warm and cool colors to merge, creating a continuous spectrum of color which ranged from warm on stage right to cool on the stage left.

The curved face of the movable teardrop platform was painted to match the Nool, while its two flat faces match the bridge.

COLOR PALETTES

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There were three color palettes in order to accomplish this continuous spectrum effect.

Citrus was designated specifically for Whoville, deeper cool tones specifically for Nool, and a collection of complementary mid tones which were versatile enough to connect the two opposing palettes. These mid tones were often utilized in the roll on set pieces rather than the paint for the built set. Examples of this include lime green, which appears as both leaves in Nool and the Whoville facade details.

CIRCUS MCGURKUS OPENING NUMBER

ALONE IN THE UNIVERSE

MOUNTAINSCAPE

JUNGLE OF NOOL

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WHOVILLE

As a dramatic backdrop, the mountain serves to both unify and divide the worlds of Whoville and Nool within the Seussian Universe. Stage Left and Stage right sit on opposite sides of this mountain, yet the common backdrop unites them. As a neutral space it served as a backdrop for other settings within the universe such as the traveling circus, palm beach, and the battlefield outside of Whoville. The height of the bridge allowed additional staging above and below, and provided space for the Jungle’s teardrop landing to be stored when not in use.

SOLLA SOLLEW

ANCHORING THE SET

The above scene involves three different locations and 2 separate worlds within the Seussian Universe: Mr. and Mrs. Mayor in Whoville; Jojo at the front outside of Whoville; and Horton and the circus creatures in the same world as the Jungle of Nool.

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JUNGLE OF NOOL A system of ramps and curved landings was chosen for the Jungle of Nool to suggest a natural flow down a gentle slope. Multiple elevations for action to occur allowed the large cast to occupy the set and allowed the director to stage scenes which dynamically filled the space. To distinguish stage left as Nool, three jungle tree wagons roll on up stage of the ramps, and lower level shrubs were placed on the ramps and landings. For the tallest set of tree trunks, the leafy canopy was set on sheets of plywood and flew in from the wing on a track.

ABOVE: JUNGLE SHRUB

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Shrubs are stand alone elements built of chicken wire and covered in paper mache. The puffy vegetation is a chicken wire mold finished with lime fun fur.

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RIGHT: TREES IN PROGRESS The vertical tree trunks are comprised of 6� diameter aluminum metal ducting which slide over a 1x3 wood posts kinked at various angles to look organic.

ABOVE: TREE WAGON SKETCH

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Roll on trees underwent a number of iterations. This sketch illustrates a wood framed idea, which ultimately transformed into the final product.

BELOW: FINISHED WAGON The center stage wagon has a passthrough in the center to allow actors to emerge through the vegetation instead of walking around it.

TREE TRUNK MATERIALS The metal tubing was painted and then finished with strips of colored burlap, frayed to look like bark. Faux leather leaves rest atop a chicken wire covered frame.

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WHOVILLE A roll on staircase, down stage building edifice, and upstage platform wagon with three distinct building facades redefine stage right as a compact hillside village when the script requires.

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ABOVE: TRUFFULA TRUNKS Because “the truffula trees were all cut down,” we designed clumps of leftover stumps to occupy the Nool ramps while in Whoville. This transforms the entire stage into a new world with a vestige of Nool still intact.

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WHOVILLE INSPIRED Buildings in Whoville were inspired by the whimsical and eclectic drawings in a variety of Dr Seuss books. Color, shape, and light are used to define the worlds of Seussical. Cut-out windows were translated into a number of window openings filled with translucent plastic and lit from behind.

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WHO HOUSES Details for the building facades were constructed with rigid foam board and luon. It was imperative that the building faces have depth and detail to ensure that the Seussian style evolved into three dimensions. Thus elements were applied so as to cast shadows, reflect light, or emit light.

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CLOVER FIELD

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The clover field is built of a lightweight sheet of polyester fabric.

This soft good was carried on by actors and draped over the descending landings of Nool, reinventing stage left as the vast clover field. Over five hundred individual pompoms were glued to the fabric field, with others Velcro’d so that Horton could pick them each night.

STAGE ARRANGEMENT The ramping platforms lent themselves well to becoming a rolling field that Gertrude could survey while she sang to the oblivious elephant. As the Clover Field still exists within the world of Nool, we set the tree wagons in their positions to provide clarity of place.

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EGG NEST & TREE

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The cantilevered wood frame construction of Horton’s tree created the iconic look of a nest out on a precarious branch. With a platform sitting at 4’6” above stage level, there was an appropriate elevation change as actors climbed up to the nest or dialogue was had between actors in the nest and on stage.

MATERIALS The wooden frame of the trunk is covered with layers of cardboard and starched burlap. The canopy is a rigid foam base covered with pink fun fur combed into spirals, and the nest is made of curly cue mesh ribbon tubing of various colors.

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HAND PROPS When creating the hand props special attention was paid to adhere to both the color palette and Seussian aesthetic.

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