How did you come up with
the design for Midsummer?
I was lucky to have been involved in the development workshops on
the piece and have had many conversations with David (Grieg,
director/playwright), Gordon (McIntyre, composer) and the actors,
so the design has developed slowly alongside the play rather than
after it had been completed. It has been a natural progression of
an idea- a bit like sleeping on something…
What was your starting
point?
The starting point was a double bed. It is the representation of
the heart of the piece, a relationship between two people. For a
long time we thought we would just have a giant mattress in the
space but it would have been too limiting. Now the bed is in the
middle of a sort of 'museum of memory' or a quirky science
laboratory where the story is played out over and over again,
analysed, examined and catalogued.
What is your process for
designing a set?
Lots of fantastic conversations with the director, lots of drawing,
lots of reading and visual research, lots of cutting and sticking,
lots of anxiety and excitement and finally a finished model and
then always thinking of all the other ways it could have also
been.
It does vary depending on the project but I think I always begin
with tiny details and then build out. And I tend to be quite
accurate with my model-making even in the rough, early stages to
get a sense of whether an idea will work or not. You also have to
be able to throw lots of ideas out even if you have fallen for how
they look. You know in your heart that something is not right for
the piece but by doing that you always open yourself up to the
right solution.
You observed some of the
development sessions that David and Gordon ran with the actors Cora
(Bissett) and Matthew (Pidgeon); did these inspire/inform your
design?
Yes absolutely. It made me think about solutions in a different way
and getting to know the actors and their approach and ideas, so
early on it was really useful. I also learned some ukulele
chords!
Did David and Gordon have an
input into your design?
Yes definitely. The design had to respond to the spirit of the
story, the writing and the music. Also we have all shared our ideas
on every aspect, which has been great. although I met with David
more to talk about the set specifically as it had to serve how he
wanted to direct the piece in the space.
Midsummer [a play with
songs], Drama Theatre, Sydney Opera House, 2 February -
10 March, 2012.
Q&A: Georgia McGuinness
Date posted: 25 Jan 2012Author: STC