The stagecraft activity has been hard at work to prepare the set for the play. And behind it all is Cameron Jack, who is both the scenic designer and the technical designer for the play. He’s in charge of making sure that the set is functional and pretty looking, and that the lights are working properly. Designing a set in the great hall has proved to be fairly challenging, so Cameron Jack has decided to build it in a three-quarter thrust layout. All that means is that the audience sits on three sides of the stage rather than just directly in front of it. Since there isn’t much of a backstage, they are putting a black sheet that is connected to a metal pole from the top of the set, and the balcony. This provides a makeshift backstage. While rooms 60 and 61 are going to be dressing rooms for actors not on stage. This will hopefully maximize the usage space before, during, and after the play.
The set was built by creating separate pieces down at SPARC. They’re then loaded into a truck, and reassembled in the great hall. So essentially, the stagecrafters are having to build this set twice if you count taking it down as well. Cameron Jack hopes that this would help keep the great hall remain functional while still being able to have the set in place. If you’ve noticed behind the main stage, there is some clutter. Well, that’s where they’re holding all of their props so that they’re out of the way during gathering or when people are just walking to their next class. It also gives them a place to put their props when they aren’t being used. There are also wheels on most of their props to make their scene changes as easily and smooth as possible.