April 26, 2005:  Scenic Designs

In this sense we may fairly speak of the art of stage designing as poetic, in that it seeks to give

expression to the essential quality of a play rather than to its outward characteristics.

            –Robert Edmund Jones, The Dramatic Imagination

Saint Joseph Ballet performances traditionally feature more scenery than most modern dance companies.  There are several reasons for this: talented scenic designers like Kate Edmunds and Craig Siebels imagining expansive worlds out of sparse budgets, a commitment to theatrical excellence, and a Founder with the same initials as Busby Berkeley. 

This year scenic designer Craig Siebels, www.craigsiebels.com, is working closely with Founder and Artistic Director Beth Burns, and Incoming Artistic Director and Choreographer Melanie Rios Glaser, to create strong visual environments, evocative of this retrospective’s five dances.

In June 2004, when concert planning began, one of the first topics was of the original set designs and how much could still be rigged after many years.  The answer depended on which scenery still existed in storage, and if it was salvageable.  Fortunately for Unearthing, all of Kate’s original sets had been professionally packed, so could be remounted with mere touch-ups. 

A few words about process:  design for dance, particularly at Saint Joseph Ballet, is a collaboration.  Scenic, costume, and lighting designers scheme together with the choreographers to fully flesh out the specific personality of each new piece.   

With early input from choreographers, the scenic designer produces initial thumbnail sketches, or first-draft drawings, to spark discussions of concepts and imagery.  Once the thumbnail has been prodded and pulled apart, the designer further develops ideas based on the production meeting discussions, with larger renderings often in color, for final choreographer approval.  After that Craig provides shop drawings and paint elevations for Technical Director Ian Britton to supervise construction.  If this process seems straightforward, then this account has erred on the side of brevity.  Your gain. 

Dancing Into One was originally performed with large scaffolding upstage in 1993.  Beth wanted to retain the scaffolding, but in a less decorative way.  The accompanying sketches show Craig’s new design, which approached the original concept from a new angle.  To preserve the surprise, all this loyal Production Manager can say is: this time, the scaffolding doesn’t stay in place.    

For Mi Corazon Canta, the original design consisted of upstage platforms for the Mariachis.  In light of the traditional music, Melanie suggested a Piñata.   But with Melanie’s funny, tender revision of Beth’s 1993 work, the piñata couldn’t be realistic, so an outsize scale, exceeding the stage’s frame was discussed.   But what could this piñata be?  Ideas ranged from celestial objects to, and mentioned in jest, a hamburger with an olive.  Happily, Craig found a rather comedic looking rooster, which seemed a perfect fit with the dance.  Additionally, Craig re-imagined the platforms for the Mariachis at an angle, for an off-kilter momentum. 

A Seed and dreamChild are also being reconceived with scenery honoring the original approach, while meeting anew the choreographers’ fresh vision, dancers’ increased abilities, and the dances as they come alive today.    

Join us next week to catch up with how the students, Beth, Melanie, and Dale are progressing in rehearsal here at our studios.

Your Intrepid Reporter,

Ben Tusher

Production Manager