The Miraculous Journey of Edward Tulane

crying design portfolio realm of darkness Theatre

For my senior capstone show, I decided to design and direct The Miraculous Journey of Edward Tulane adapted for the stage by Dwayne Hartford and book by Kate DiCamillo.

Each senior had to pick a show to design and would have the opportunity to then direct said show at William Jewell's Theatre. Each senior had to start with a concept design which would be the basis for the marketing plan, costumes, props, set, sound, lighting, budget and create a tentative rehearsal schedule.

First, I would like to show the 26 concept images I started with before thinking about the designs of the show:

I spent various hours scrolling through google images and looking up several different key words. My first objective was to look at what other people have done with the play. Which is why the first four pictures are all stage designs, three of which are Edward Tulane. I really liked the surrealistic and strange designs that could come from the show. But, I knew I did not just want a surrealistic play, I wanted a homey feel to it, one that people could grab onto and feel like they belong in the play. So, it was my intention to go back to the artist of the book. Which is where the next few pictures came from. I fell in love with the 1920s asthetic and the soft colors, and yet there was also something offputting about them. That is when I recgonized I was getting the feeling of lonliness. Which, was one of the themes I was looking for with my own design.

That is when I started looking at photos for aesthetic and emotional value. I wanted pictures that created a sense of mortality, lonliness, hopefulness, and ruin. The Miraculous Journey of Edward Tulane may be a book ment for children, but it's basic themes can be relatable for any age. It is these themes that I wish to bring out so anyone can enjoy the production. For the rest of my designs I followed these themes and similar aesthetics.

Marketing Research

“Join Edward Tulane, a china rabbit, on his miraculous journey where he learns how to love and be loved in return. Edward Tulane was the star of Abilene’s life until one day he was thrown overboard. The selfish and narcissistic rabbit enters the life of many people, from all walks of life, where they all teach him valuable life lessons.”

For Marketing, I had to design a poster and create a few sentences detailing the show and what it is about. It had to captivate the audience while being concise.

I looked at various other poster and playbill designs people have done for The Miraculous Journey of Edward Tulane. Here are the ones that captured my attention the most:

To avoid copyright issues and to make the poster more unique I decided to do a photoshoot with my stuffed rabbit. It was like a bolt of lightning as inspiration hit me. I grabbed my rabbit placed her on a chair and modeled her as I took a picture. However, I knew I was not yet done! I wanted the poster to reflect the themes and color scheme I had been going for. To make sure this look was achieved I used my paint tool sai drawing program, and digitally painted over the black and white photo. I then spent many hours (about 8) doing calligraphy to get everything perfect enough for me. I hand wrote everything on the poster (which can be seen above) and after many hours of hard work I achieved a look I was satisfied with.

Costume Research

All costumes will be pulled from stock unless, if there is nothing which will fit both the theme and the actor. Additionally, since I do not know the actors I will have, many of these costumes could be changed. Most images are just inspiration images to help when it comes to the final decision.

Within the show, there are several costume changes and I will be implementing this by layering on clothes to allow for actors to quickly change outfits. It is my idea there will be mini costume racks on either side of the stage, in the wings, and Assistant Stage Managers and Backstage crew will help actors with the quick costume swaps.

All costumes will aesthetically revolve around 1920s-1950s aesthetic, as the play is set within those years. Since, I will be pulling from stock, it may nto be possible to get the era exactly right, but I will do my best to keep to the feel of 1920s-1950s.

I have separated the costume designs by the individual actor, and then the characters they will play.

The Traveler

The traveler is a strong female lead, who leads the audience and Edward throughout the play. She also plays Pellegrina and is on stage the entire time.

The 1920s told women they should not wear pants, but this did not stop many stubborn and less conservative women. Pants gave the person wearing them a sense of rebelliousness, control, and power. I wish to represent these themes within the Traveler’s wardrobe. When she plays Pellegrina the Traveler will simply change posture and adorn a shawl.

The Musician

The musician who plays his guitar and voices the thoughts of Edward Tulane. He is on stage the entire time, and will never have a costume change.

I played with the idea of having The Musician look similar to Edward but decided against it. Since it was the playwright’s wishes to only have the Edward Doll be seen as a doll, I thought it would be important for people to not focus on where the voice of Edward is coming from. Their attention should be more focused on the doll. So, I wanted something simple, but still nicely dressed, so at least the Musician symbolizes Edward. He will also have a guitar, or other instrument depending on what the actor can play, on him at all times, so his outfit needs to allow for some kind of movement. I decided, dress pants, a buttoned-up long sleeve shirt, and a closed vest.

Actor I

Actor I will be female who plays: Bryce, Lolly, Doll, and Amos (could possibly play Lucy the Dog depending on who the actor is)

Actor I has the challenge of playing multiple genders. Though I have thought about simply gender-bending Bryce, this decision has yet to be made until I know who is playing Actor I. Either way, this actor will be wearing young male clothing and a long coat when she transforms into the Lolly persona. Bryce and Amos can have the same outfit, and the Doll can be any annoying poofy nice dress within the costume room.

Bryce will supposedly be wearing knee-high pants, with a button-up shirt or a sweater, and long stockings. Possibly could just be wearing suspenders if the button-up shirt is used. Since Bryce is supposed to be poor, I do not mind if the outfit does not look good together.

Amos will more than likely be in a sweater but wearing the same pants as Bryce.

Lolly will wear a long woman’s coat, buttoned up to hide the clothing underneath. This is why it is important to have knee-high pants. If this cannot be achieved, then Lolly will wear a long dress in the appropriate era, preferably without any patterns.

The Doll has more freedom in what to wear, just needs to look nice and cute in contrast to the old Edward doll. This dress should be more 1950s style, but could also have a timeless feel. Since this is the last scene in the show, the actor will have plenty of time to change.

Actor II

Actor II is male playing Bull, Martin, Marjory, Lucius, and Neal

Bull is an important character in the story and is also a Hobo. I imagine his character will wear pants too large for him, and a worn-out coat. Maybe even gloves and a hat. I want him to look like he has simply picked these clothes off the side of the road, but still tries to look distinguished. Having bulkier clothes will allow Actor II to wear other costume pieces underneath.

Martin is a young boy who bullies Abilene with Amos, he will look similar in wearing pants, and a sweater.

Marjory is originally female, but I have turned male, Marjory is just a strange man wandering the streets and has about three lines, I think Marjory can wear the same thing as the Martin outfit.

Lucius is the Doll Shop Owner at the end of the story. I imagine a well-tailored suit (perhaps the same pants as Martin and Marjory and Neal), but with a matching suit jacket. If possible, a hat could be added as well.

Neal is the owner of the diner and comes off as mean. Whereas Neal does not show up much, he is important to the story and needs a distinguished look. I think adding an apron over a buttoned-up shirt, could be easily attainable, as well as a posture and demeanor change.

Actor III

Actor III is a male playing Lawerence, Jack, The Watchman, Star 2, and Father

Lawrence is a poor man, but one of the more well off men. I think a simple suit, unbuttoned, jacket will give off this appearance, as well as a dusty look. Perhaps a simple light blue or gray suit. If I think the jacket is too much, then just a sweater vest over a buttoned-up shirt will look nice.

Jack is one of the hobos who has a couple of monologues. There is one scene between Lawrence and Jack, and in this time Actor III can change out of the suit jacket and wear a similar-looking big worn-out coat as Bull.

The Watchman is on the train with Bull and plays the law-enforcement of the play. I have yet to decide what outfit The Watchman could wear. He is barely in the scene and has to make a very quick change from Jack to the Watchman. There is a possibility where The Watchman will be transferred to Actor I, since the Watchman does not have many lines.

Star 2 - Will probably be in the same outfit as Jack or Lawrence. The Stars will hold a pole and something glowing to represent the star.

Father - this is Abilene’s father and I imagine he will be in a suit. Could be the same as Lawerence, or maybe a darker colored suit jacket, that is buttoned up.

Actor IV

Actor IV is a female playing Nellie, Society Lady, Old Lady, Old Doll, and possibly (Lucy the Dog)

Nellie is the grieving wife to Lawrence. She is a bit older and a bit raggier, and I think her costume should reflect this. She hand sews her own clothing, so I think something simple with a light design would enhance this feeling. Probably a dress a little past the knees, so this can be the main outfit and layers can be added on, for the other characters.

Society Lady appears on the deck scene for a short time. I imagine putting on a fancy coat over Nellie’s outfit. One of the fuzzy collared ones, if that cannot be found, then just an oversized coat.

Old Lady - A large pull over skirt and a sweater, and a shawl. The Old Lady runs the farm where we meet Bryce, she is cold and callous, but is not on stage for long. The pull over skirt and sweater will allow for a quick and easy change which can go over the Nellie dress.

Old Doll - I honestly think the Old Doll could use the same outfit as the Old Lady, maybe the difference could be a bonnet hat, and a different sweater, maybe one that is a bit more tight fitting.

Lucy The Dog - A character who plays a dog can be hard to dress up. She also would need to go from Nellie to the dog, with little to no transition (which is why I am considering having Actor I play Lucy). I believe a special made brown hat with flops to look like ears. And then if Actor IV, Nellie dress, if Actor I Amos’ outfit.

Actor V

Actor V is a female playing Abilene, Marlene, Star 1, Sarah Ruth, and Shopper

Abilene is the young girl who first owns Edward. She is kind and very playful. I think a short sleeved dress at the knees would be a good fit for Abilene, and mary jane type shoes if possible, to give her a younger look, though most of the “youngness” will come from the actor.

Marlene is the waitress who serves Bryce, she is young and cheerful. I think Actor V can wear Sarah Ruth’s dress with an apron over it, to help with quick costume changes.

Star 1 , similarly to Star 2 will hold an item to represent being a star. Since Actor V has to quickly become Sarah Ruth, I think Star 1’s outfit can be Sarah Ruth’s dress.

Sarah Ruth - the poor and sick sister to Bryce. Similar to Abilene’s dress, but more ragged and pale. Perhaps even add a shawl, since she is cold all the time, and sick. Sarah Ruth is only seen in bed, and therefore the look of shoes does not matter.

Shopper - The shopper at the last scene who is the older Abilene. I think she can wear a fancy coat (Perhaps the one Society Lady wore) over Abilene’s dress. So that if shown, the audience can recognize the dress as Abilene’s dress, but the coat so she doesn’t look exactly like the young girl Abilene.

Photo References for 1920s-1950s clothing

I wanted simple outfits, all fitting the color scheme of pale yellows, oranges, browns, and tans. Possibly some light blues and grays here and there. Many of the characters are poor, so I researched more worker and poorer types of clothing.

1920s-1930s...

1940s-1950s...

Prop Research

There are not many props mentioned within the play, and it is possible I could add more. Especially as dressings, the characters can interact while on stage and not necessarily saying anything. However, I do not want the props, nor the set for that matter, to overshadow the dialogue and the themes itself. Since this play is about loneliness and combatting what it means to love, I feel there needs to be a simplicity to the props, as a way to say the material world is not what is important.

As for where I will get the props: Minus the Edward dolls, which I will explain later, everything will be pulled from stock. Covid situation permitted, I will reuse the same props throughout the various scenes between multiple actors. I could see us not having a fishing net or a bedroll, but I believe we could pull extra fabric, and if needed sew together what may look like a bedroll. Since it is the hobo, Bull, who uses the bedrolls, I am fine if it looks haphazardly put together and worn down. Many of the characters who are in this play are poor, and having props that don’t necessarily seem to fit together, I believe enhances the idea that those who are poor, have to work with what they got. Therefore, all props will be pulled from stock, save for Edward Tulane.

Edward Dolls

The Edward dolls are the most central part of the play. Therefore they need to be interesting to look at and be able to be seen from anywhere in the audience. Since the play takes place starting in the 1920s and the rabbit is a new “china rabbit”, the doll needs to represent this era. Throughout the play, Edward is seen in various outfits: A Blue pinstripe suit, silk pajamas, a sailor suit (with socks and shoes), a hand-sewn dress, and an outlaw outfit. Some of these costume changes are very fast and require more than one Edward doll to be made to have the play run smoothly and continuously. In the original production, they used 7 Edward Dolls. However, after reading the play I believe it is possible to only need 3-4 Edward dolls with the help of backstage hands.

In this case, the Edward dolls will need to look similar and be made in the same way. I feel since this is the most important prop, it will be the one which will be made using part of the 300$ budget allotted to the production. I plan to find a pattern or make my own pattern and sew together the individual Edward dolls since I have experience in sewing. The clothes can also be made, or doll clothes can be bought (though I would prefer the outlaw and the dress to be hand sewn, at the least).

Here are some pictures of 1920s china rabbits, which I will base my design off of:

Props Broken Up By Scenes

Act I - Scene 1

A house on Egypt Street in Paris

Suitcase: Held by Pellegrina who is moving away

Pocket watch: Given to Edward by Abiline (a small doll-sized one)

Puppets (could be shadow puppets): Pellegrina tells the story about the princess

Stage dressing for a bedroom, parlor, garden, and dining room

Bedding,

Table

Chairs

Act 1 - Scene 2

A cruise ship

There are no specified props for this scene, however, I feel the stage could be dressed to have a deck chair and something to represent the railing of a cruise ship. Perhaps a ball Amos and Martin were playing with before they speak with Abilene.

Act 1 - Scene 3

Underwater → A road → Little Green Cottage

Fisherman net: Cast out to catch Edward by Lawrence. Could also be a simple cloth, not just a net

Crate: Something to sit upon and interact with while Lawerence is talking to Edward

Kneaded Bread: Probably playdough, or something Nellie can be acting like she is kneading

Counter: More than likely will be part of the set, if not, then some boxes stacked to look like a counter

Highchair: Hopefully we have a high chair in stock? If not, this may be the one prop that will have to be bought. Could find at a thrift store. Important to story and is mentioned multiple times, Edward must be able to sit in it

Dining table: More than likely will be part of the set, if not I could see the old Radium Girls tables being used here

Chairs: We have plenty of chairs in Narnia, they don’t need to match, but I would like simple wooden chairs

Plates & Silverware & cups: Since these are used for a single moment, I may not have these as actual props. They could instead be pantomimed by the actors. I would have to look in stock, but I would like to use simply designed plates, preferably white or gray.

Act 1 - Scene 4
The Dump

Garbage Pile: Edward gets thrown into the garbage and more and more gets piled on (by actors) I have yet to decide how exactly I want this to look. I think between a gobo and some clutter, an appropriate look can be organized.

Bedroll: I am pretty sure we do not own a bedroll, but I think I can use some normal cloth. This is for a Hobo so it does not need to look neat or nice. This could also be just a large pillow as well.
Hobo bag for Bull: I think I would like to see a large and worn out bag that Bull can sling over his shoulders, and can attach Edward too. Something might need to be changed on the bag so that the Edward Doll can be placed on the bag and still stick out. (Perhaps put blankets at the bottom of the bag to make it seem full as well.

Act 1 - Scene 5

Hobo Camp

Campfire: Not sure how this will work. I was thinking if possible, a trick of lighting to make it seem like there is a campfire. If not, then a very simple set up of a couple of logs and the character pantomime as if there is a fire.

Bedroll: Same as Act 1 Scene 4

Hobo bag for Bull: Same as Act 1 Scene 4

Harmonica: I am pretty sure we have one in stock. This will be used by Bull as his form of entertainment.

A sack of food scraps: Could already have been in Bull’s bag, or a separate sack of food. More than likely will just be some bread or will be pantomimed.

Act 1 - Scene 6

An Empty Road → Train railroad car

Train box crates: I was thinking of using the black boxes if possible, but simple boxes would be fine. The Train railroad car is also something I am a bit stuck on, on how to represent

Door?: Edward gets thrown out the door of the railroad car. Possibly just a wide frame could be used? It will depend on what the set is like. I also do not need a door, suspension of disbelief will be important here

Flashlight: The flashlight the Watchman uses to check out the railroad car. If the lights are dimmed on the stage, then the flashlight could be turned on (would need to be functional in this case)

Act 2 - Scene 1

Empty road → Farm / Farmhouse

Food basket for Old Lady: The Old Lady places Edward in a basket, I figure a straw/old wooden basket would work fine. Perhaps could be covered by a cloth as if she had some goods in the basket.

Vegetable garden fence: Not directly in the book, but there is a vegetable garden. One of those wire fences by chance? This might be more of a set thing.

Pole to hang Edward on: This is also more of a set thing than props, but something Edward can be nailed too. Similar to a scarecrow pole.

Pans attached to the pole: Tin pans hung on the pole with string. If we have none in stock, it would be easy to find some at a thrift store.

Crows: Another prop in which may have to be made, I’m not sure if we have any birds. I imagine these to be props in which the actors hold (could be attached to poles) I genuinely could not find any pictures that look like anything I want

Gardening hoe: Could also be a simple stick. Something Bryce uses to scare away the crows. Could also be a rake.

Act 2 - Scene 2

Farmhouse Shack

Table & Chair: More of a set-piece, but similar to Lawrence and Nellie’s house, but less put together as Bryce is poorer. Could always use the Radium Girls tables again.

Bed and Bedding for Sarah Ruth: Random sheets, I do not want them to match or look like they belong together since the family is very poor.

Kerosene Lantern: If we have one this set piece would be nice to have. In the script, it is mentioned Bryce turns it off, but it is not desperately needed.

Shadow Puppet trick (For Bryce’s father): This would include a large translucent sheet and a lighting trick. Probably Actor III acting as the father (Traveler speaks the lines though)

Box of Buttons: A small tin box Bryce has and gives to Sarah Ruth

Biscuit: Could be pantomimed, or something cheap from the store used for tech week and the performances. Sarah Ruth needs to be given them, but she does not eat the Biscuit

A string to attach to make Edward a dancing puppet (could be a new Edward doll): More than likely will be a new doll, but any string and cross patterned wooden object would work (To look like an old puppet)

Act 2 - Scene 3

City Street Corner

A tin can: Any simple can will work, I know we have plenty in stock. This is just to put coins in

Coins: Coins street walkers can place in as Bryce plays an instrument and Edward

Dancing Edward Doll: Same as Act 2 Scene 2

An instrument Bryce can play: Will depend on the actor, but could be a harmonica or a simple stringed instrument

A knapsack: Something Bryce can put small stuff in, could be the Hobo’s sack

Act 2 - Scene 4

A Diner

Table & Chair: Similar to all table and chair scenes, nothing fancy

Food: Could be pantomimed, but if we have any in stock then it could add flavor to the dining scene. Bryce eats a lot, so preferably a full plate.

Waitress Apron: This is more a costume piece, but it would be on Marlene

Waitress pad: Just a small notebook Marlene can write in and use to give Actor V a waitress look

Frying Pan: What Neil uses to smash Edward’s head. Can be the same as one from Act 2 Scene 1

Act 2 - Scene 5

Dream World / House

Doors/Windows, could be a light trick?: Still a bit unsure about this scene and how it will look. Most things in the Dream World will be light tricks. The script says to have doors and windows, but I may not actually stage this scene the way the script follows since I have organized the actors to not have to play multiple characters in this scene.

Fabric for wings: This one is still a bit in workshop. But coloured fabric to represent the people tearing at Edward’s wings. Any fabric will do, but I would choose colors which looked against the lighting of the scene and how it fit with the characters. (Still staying the same color scheme)

Act 2 - Scene 6

Doll Shop

Doll Maker’s desk/counter: Can be similar to Lawrence and Nellie’s counter top. Stacked boxes, or just a tall counter like look. With dressings on top.

Cash register: I am pretty sure we have one in stock, if not, then this piece is not needed. Would be nice to have just to help set the scene.

Display shelf: I know we have a couple of shelving units, would only really need one or two, since this is not a pure realistic play

Various dolls: These can just be pulled from the stock, and added to the display shelf. If we do not have many and it looks awkward, this is something which can also be bought at a thrift store.

The Pocketwatch: from Act 1 - Scene 1

Set Research

Set design was by far the biggest struggle for me. It stressed me out beyond belief and made me want to give up multiple times. It is one thing to build the inside of a house, I know what houses look like, I can research images of houses. A blank slate with endless possibilities killed me. I have aphantasia and do not have the capability to visualize. So, I did end up having to get some help because after 5 weeks with no progress and crying myself out of frustration and knowing I needed to get this done, I realized I could not do this alone. So, I’ll write you through my process, because I don’t have the availability to really sit down and talk out all of this…

First, I sat and thought.. Nothing came at all. So, I decided to look up what everyone else did for their set designs for this show and I found:

It helped to know that I could do anything, and it didn’t help me because whereas these sets did inspire me, I realized I could not build anything similar to these sets. Why? Because my set had to be movable as I would have to be sharing a stage on the same night as someone else. It would be one thing to share a stage on different weekends, but the same night brought about complications. How I would have loved to create a stationery set that morphed the stage and the theatre itself into a folklore rustic storybook, but that was not the case. I knew I wanted something small and intimate that would engage the audience and make them feel as if they are apart of the story, and are along for Edward’s journey. However, this was not available to me. The play also covers 13 different locations, so I would need a way to represent this as well.

To the sketch pad I went! Because I could not just sit and think, I had to draw things out. Both to scale and not to scale:

The rough idea I had first come up with was 4x8 platforms on wheels, with a wall on one side that could be moved and changed/dressed to look like different locations. Which as an idea and a very rough and horrible sketch on paper, didn’t seem too bad. But, then when I tried to put them on a to-scale-look, I realized one problem I actually hated about this plan. There was just so much empty space on the stage. Even if I do close the 3rd traveler the stage is roughly 32 feet wide. Two 8x8 platforms could not cover that 32 feet width without some really awkward open spaces. And so, where the platforms solve the dressing 13 different locations, it does not account for space. So, I recruited Wyatt Phillips and Joseph McCleave, sat in a call with them, and had them bounce ideas and talk about set design.

Wyatt had a brilliant plan, and one I was sad I never even thought of. Tri-flats! Like in Shakespearean times. That made so much sense to me! Easy to construct and gives a lot of flexibility. And, Joseph gave the idea of the tri-flats create the indoor locations and the outdoor locations are just the open stage to give a sense of “loss, loneliness and emptiness” the exact theme I had been going for.

So I made a couple more sketches:

And in the end nailed down 4 tri-flats. One would be made with plywood so that things could be mounted on it, and 3 of them would have canvas painted to all match one wall look. Bringing on tables, chairs, and other furniture objects wouldn’t be hard for the actors and crew to do. And, each furniture object could be used multiple times just in various locations on the stage.

The next step then was to decide the placement of everything. And I have to be honest, this might change before the show opens, more than once. I have a few sketches up, but nothing in set in stone. I want to wait until I know the cast I am working with, and how many people I will have as crew members backstage who can also move pieces of furniture. So, whereas these sketches are not the exact and perfect location, they are the base for how I will stage Edward Tulane. I have broken down each location from the start of the show to the end of the show, following this order:

I.1 → Abilene’s House

I.2 → The Ship

I.3 → Underwater

I.3 → Lawerence’s House

I.4 → The Dump

I.5 → Hobo Camp

I.6 → Emptyroad

I.6 → Railroad Car

II.1 → Emptyroad

II.1 → Outside the Farmhouse

II.2 → Bryce’s Shack

II.3 → City Street Corner

II.4 → The Diner

II.5 → Dream House

II.6 → Doll Shop

Sound Research

Sound is a big part of this play.

Since this play relies on The Musician, I need to see who will play The Musician and determine their ability to play an instrument before I can really solidify the full sound plot. Generally, I know I want a folk tune sound and theme.

I was inspired by the artist Chuck Ragan’s composition in Flame in the Flood: https://open.spotify.com/album/6ISwcHab64okHAqYte73yV?si=Y6ku6u8XSRywPJaFEbXO3Q

And generally Chuck Ragan’s music:

https://open.spotify.com/artist/6iU0naWn1UgiTReoiXqPXI?si=PK26b_JhTvmXRIv37MPg1A

My goal is to ask other people who might know any folk music as well. I want instrumental musci with loneliness, and exploration themes.

Personally, I would love it if whoever plays The Musician would want to write up a few songs of their own, that could be recorded and used. I also know a couple of people who do like writing music, and if it allows in the budget to pay them, i’d want to see if they could write something.

I want The Musician to have some free liberty in what they play. This way they like what they are playing, and they create Edward’s Character within the music they are giving. Of course, I plan to give guidance on this and plan to make sure all the themes stay on target, but I think there would be more life to the play, if The Musician was allowed to be a Musician.

Lighting Research

For lighting, I recruited Joseph McCleave to help me with lighting as he knows lights in a very pratical sense. But, I still had a hand in the majority of the design of the show. Not everything is super set in stone, and until the show happens nothing can be programmed, and until blocking is made, specials cannot be known. However, starting with five concept photos I then started brain storming some specific lighting moments.

Now the lighting plot for the general wash:
(Artistically made by Joseph McCleave)

The main lighting color for this show will be various yellows. From canary to a pale rustic color. The show will then be accented by blues and oranges. Blues more when it is nighttime and the yellows and oranges more when it is day time. As you can see with the lighting plot, there is top lighting and the angular lighting to create 6 different areas on the stage. A standard McCandless general wash. These areas are fit to allow the 3rd traveler to be closed. The lights hung up top will always stay a natural light color to help rid the stage of shadows, where the lights hung in the torms are LEDs and therefore can create accent colors.

In a discussion, it was decided during the nighttime scenes no top light will be emitted to create a cool tone and dark look for the stage. However, all lights will more than likely stay the soft edges and not have a stark white look.

As Joseph put it, he felt the lights should really sell the “southern summer style” which I had agreed to, since I wanted to create a vast empty space where hard work was always present.

However, there is a scene where the play goes very surrealistic. During the Dream House, after The Edward Doll’s head gets smashed, is the only scene where The Musician actually portrays Edward’s movement. All of his friends pull and tug at him beginning him to come back, lifting him up with wings, but then begin to fight over him tearing him down little by little, until he realizes he needs to come back because he wishes it, not because others wish it. I have been toying with several ideas of what to do for lighting here since I want to create a very different feel and world. The idea as of now is to have a stained glass look. Various colors splattered across the stage to represent the many walks of life Edward has encountered. As stated previously on the props page, I wanted sheets of fabric to represent Edward’s wings, and if I can find a white material that absorbs the colors of the stained glass light, I think, visually it would look very intriguing and cool.

Another specific moment I have planned out is in Bryce’s shack with his “father” appears. In the script, it says to just have a shadow of him appear in the background and have the Traveler read as him. This is my back up plan. What I would like to see is a mover hung on either the first port or hung on the 1st electric to shine a small circle and move in a set pattern as if it was the father. (The idea came from Frieda! KC Rep) I am not sure how this will look, so I may change my mind.

Another lighting trick I plan to have happened is shadow puppets at the very beginning of the show. When Pellegrina tells the story of the princess, and possibly to have the shadow puppets become a motif to the show anytime the fairy tale is mentioned. I am not quite sure exactly how I plan to do this. I know how to create them, a thing white sheet with a light behind it. But that causes the piece to be stationary. I am still playing around with this idea.

In the Hobo’s camp there states to be a campfire. What I would like to see happen is an empty barrel with a light in it. And if possible, one with a gobo rotator (Though I am pretty sure the only one we have is for the Ellipsoidals) If not, just a saturated orange light that can glow upon the faces of the actors.

Another specific lighting moment or idea I have is stringed bulbed lights, (Christmas lights?) to represent the stars. I think artistically this will be a very beautiful and symbolic look. I didn’t want something cheesy like having a made gobo to look like the constellations or to have stars gobos sprawled across a backdrop. They would be fairly easy to set up and can be strung across batons.

During the transitions of the show, the lights will dim down, top light stays up so actors can move things safely, and a special will be placed on the Traveler who usually speaks and moves the scenes along.

Overall, I am going for a semi-realistic semi-surrealistic look. I want the lights to help portray the feelings of the characters, but not so overtly that it is too much in the audience’s faces. I want the lights to go along with the story, but not overpower it. The words are the most important part of the story, the rest of the design is to help communicate those words effectively. It is why I have decided to go with yellows and ambers, it is not a straight-up realistic look, but it is not overpowering at all and it fits the theme colors (that I decided) of the show.

Budget Research

This section contains theoretical plans. I plan to use, primarily, items in stock, but due to the COVID situation, I was unable to get a good idea of what I can use and what will be available. Also, since there are four other seniors, I was unsure how the process of deciding who gets what from the stock would work out. Additionally, I was unsure where exactly I’ll buy products I can’t get from the stock and how much they will be. It is my intention to buy from a thrift store first, since the budget allocated is very limited. This is, of course, COVID dependent. I know Hillcrest Hope is nearby, and there is GoodWill and Savers within Liberty as well as a few antique stores.

The thing I believe I cannot get from a thrift store is stuffing for the Edward Dolls. The price on this can range anywhere between 12$~30$, I would be looking for poly/fiber cotton stuffing. If at all possible, I would like to use the extra fabric we have in stock, if I am permitted, for the dolls, especially the clothes (since they were hand made in the story I think it fits), but I understand if this is not permitted since this is a material which would be lost to the void after use. In this case, I would go to Walmart (because it is cheap) and buy simple white fabric, to make the Edward Dolls. I imagine, I’ll also try to find buttons for eyes, and I know there is some sewing stuff at thrift stores, which could be useful. I also might try to see if the fabric is available at a thrift store, to make it cheaper. I know Savers usually has a lot of extra fabric.

Another thing I could see ending up costing a rather fair amount and something I may not have available to me in stock, is paint. And, I was having trouble navigating Lowes website for how much paint costs. I was seeing prices from 12$~40$ per gallon. And on average I would say 15$~17$ per quart from Home Depot. I do have the 4 3-sided tri-flats which I intended to paint, and that could be a big part of where my budget goes. Which is why I want to pull as much as I can from stock. Especially costumes…

Speaking on costumes, I will stick to what we have in stock, unless absolutely necessary. In this case, I intended to once more stick to thrift stores and not stray away from this. We have a lot of costumes in stock, and I don’t doubt that I can create the look I am going for, in what we have.

Therefore, the 300$ will be primarily going towards paint and the materials to make the Edward Dolls.

I could see about 80$~100$ being spent on Edward Doll materials

And on paint about 50$~100$. A wide range, because I am a bit unsure of how buying paint works, and I hope when the time comes I’ll have a bit of guidance.

There is something else I mentioned under the sound plan. If there is remaining money left over, I would like to commission a person I know, to write and record a few original songs for the show. I know this person would do it for free, but I feel it would be nice to pay the musician.

Rehersal Research

This will be a reference template for how I wish rehearsal to be conducted. Of course, I understand this depends on people’s schedules. The rehearsal would also depend on what the other senior is doing, and I am unsure how we are supposed to work that part out. I feel like most of this will have to be determined as we get closer to the actual show.

Technically, the show is only ever split up into Act I and Act II. I have gone through, for the purposes of designing the show, and broken it up into 12 different scenes, six per act. In total, the show is roughly 90~100 minutes long, depending on the lull between scenes, and blocking. It is entierly possible to have everything blocked within two weeks (Act I and then Act II) then the third week for cleaning and polishing, and the fourth week for tech. Now, that is assuming rehearsal was 4-5 days a week.

With the other senior's production, I could see it more reasonable to only rehearse for 3 days a week, though I would like to rehearse for more. This then means I believe we should add an extra week.

The biggest thing I would find troubling is the scene changes. These will take more time to make sure they run smoothly, which requires everyone to be there every day of rehearsal. And since the actors play multiple parts, they are all in multiple scenes. Finding a time where everyone can come to rehearsal reliably, may also pose a challenge. But, it is my personal goal to work through this so the show is as successful as it can be.

Thus without further ado, I bring to you what I believe to be a rough draft of a rehearsal schedule with the 3 days a week if I can do more then I would want to do that.

For reference: 6:30pm-10:00pm is how long rehearsal will last each night until tech week:

5:00pm-10:00pm, but could run as late as 11:00pm

Week 1: Auditions and Read-through

Monday - Auditions
Tuesday - Callbacks
Wednesday - x
Thursday - Cast List posted
Friday - First read-through of the story and show of general designs
Everyone 6:30pm-10:00pm

Week 2: Blocking of Act I

Monday - x
Tuesday - Blocking scenes 1-3
   Everyone 6:30pm-10:00pm
       6:30-7:15 Scene 1
       7:15-8:00 Scene 2
       8:00-8:45 Scene 3
       8:45-8:55 Break
       8:55-10:00 polish Scenes 1-3
Wednesday - Blocking scenes 4-6
   Everyone 6:30pm-10:00pm
       6:30-7:15 Scene 4
       7:15-8:00 Scene 5
       8:00-8:45 Scene 6
       8:45-8:55 Break
       8:55-10:00 polish Scenes 4-6
Thursday - x
Friday - Run through and polish Act I
   Everyone 6:30pm-10:00pm
       6:30-7:00 Scene 1
       7:00-7:30 Scene 2
       7:30-8:00 Scene 3
       8:00-8:10 Break
       8:10-8:40 Scene 4
       8:40-9:10 Scene 5
       9:10-9:40 Scene 6
       9:40-10:00 Polish and re-go over anything needed

Week 3: Blocking of Act 2

Monday - x
Tuesday - Blocking Act 2 Scenes 1-3
   Everyone 6:30pm-10:00pm
       6:30-7:15 Scene 1
       7:15-8:00 Scene 2
       8:00-8:45 Scene 3
       8:45-8:55 Break
       8:55-10:00 polish Scenes 1-3
Wednesday - Blocking Act 2 Scenes 4-6
   Everyone 6:30pm-10:00pm
       6:30-7:15 Scene 4
       7:15-8:00 Scene 5
       8:00-8:45 Scene 6
       8:45-8:55 Break
       8:55-10:00 polish Scenes 4-6
Thursday - x
Friday - Run through and polish Act II
Everyone 6:30pm-10:00pm
       6:30-7:00 Scene 1
       7:00-7:30 Scene 2
       7:30-8:00 Scene 3
       8:00-8:10 Break
       8:10-8:40 Scene 4
       8:40-9:10 Scene 5
       9:10-9:40 Scene 6
       9:40-10:00 Polish and re-go over anything needed

Week 4: Polish and dedicate time to fix scenes

Monday -    X
Tuesday - Run through and polish
   Everyone 6:30pm-10:00pm
       6:30pm-8:00pm Run through
       8:00pm-8:15pm Break
       8:15pm-10:00pm Work scenes, TBD from runthrough
Wednesday - Run through and polish
   Everyone 6:30pm-10:00pm
       6:30pm-8:00pm Run through
       8:00pm-8:15pm Break
       8:15pm-10:00pm Work scenes, TBD from runthrough
Thursday - X
Friday - Run through and polish
   Everyone 6:30pm-10:00pm
       6:30pm-8:00pm Run through
       8:00pm-8:15pm Break
       8:15pm-10:00pm Work scenes, TBD from runthrough

Week 5: Polish and dedicate time to fix scenes

Monday -    X
Tuesday - Run through and polish
   Everyone 6:30pm-10:00pm
       6:30pm-8:00pm Run through
       8:00pm-8:15pm Break
       8:15pm-10:00pm Work scenes, TBD from runthrough
Wednesday - Run through and polish
   Everyone 6:30pm-10:00pm
       6:30pm-8:00pm Run through
       8:00pm-8:15pm Break
       8:15pm-10:00pm Work scenes, TBD from runthrough
Thursday - X
Friday - Run through and polish
   Everyone 6:30pm-10:00pm
       6:30pm-8:00pm Run through
       8:00pm-8:15pm Break
       8:15pm-10:00pm Work scenes, TBD from runthrough

Week 6: Tech Week

Saturday/Sunday - Dry tech
   Times TBD
Monday - Tech run, no costumes or makeup
   Everyone 5:00pm~11:00pm
       Full run through with Tech
Tuesday - Tech run, costumes no makeup
   Everyone 5:00pm~11:00pm
       Full run through with Tech
Wednesday - Tech run, costumes and makeup
   Everyone 5:00pm~11:00pm
       Full run through with tech
Thursday - Pre-show run, tech, costumes and makeup
   Everyone 5:00pm~11:00pm
       Full run through

Friday - Show (?)
I am unsure of how the shows will work

Designing this show took me about 3~4 months given the fact I did not work on it every single day. Despite not having access to a lot of materials I needed, I feel as if I have accomplished a great deal and am set up for success ,when I do have to make final decisions about this show. This is the first time I have fully designed a show and will be directing it. I feel a great sense of pride in all the work which has come from this project and I am excited to bring it to life.

The Miraculous Journey of Edward Tulane

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The Miraculous Journey of Edward Tulane

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