Guest post from after the quake set designer Yvan Morissette
What a treat it is to have time on your side. And what about space? That too. For this production, we had both. Longer rehearsal period means more time for discovery… more time for creativity to set in. Of course, as a Set Designer, that doesn’t mean much unless the set is also involved in that process… and it was. Cue the new rehearsal space known as “Progress Lab 1422”, and voila… time and space. The set was built ahead of time so it could be set up in the rehearsal room…. Most of it anyway. It is truly a rare pleasure for directors to enjoy rehearsals on the actual set, as the set is normally built just before being moved to the theatre, and never sees the rehearsal room. And for me, that’s a chance to integrate ideas more fully. A little bit of a double-edged sword though, as it is more work as changes and adjustments are made on the go… a chance to custom build to blocking and new ideas. But isn’t what we all strive for as theatre artists? A chance to explore your craft, and to be lucky enough to be in a room with your peers, and let that creative team effort take you where, alone, you have no chance to go? All right… enough with the melodramatic. What you really need to know is…. there will be a set on opening night. It will be solid… might even be beautiful… but I hope that you’ll also find that it serves the story really well. ------------------ Based in Vancouver, Yvan has been designing for Theatre, Music and Special events for over 15 years. His designs have been seen on most stages around Vancouver, including Rumble (Recovery), the Vancouver Playhouse (River, Asylum of the Universe), the Arts Club Theatre (Complete Works of Shakespeare, Carol's Christmas), and four seasons at Bard on the Beach. Recent credits include the national tour of Skydive for Reelwheels Productions, Jocasta for Studio 58, and King Arthur for Axis Theatre. His Designs have been nominated 11 times for Jessie Richardson Awards. Yvan is a graduate of Studio 58 in Vancouver.
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