This director always challenges me.

From the floating sliding door at the back with no visible means of
support. To the spinning frame at the front it was a challenge all the
way.

The sliding door has black painted wall sections (called 'flats' in the
theatre) to either side and then at right angled to give stability,
hide them from the audience and enable the cast to approach from a
'natural' angle.
It was built in a box of three paralell framing studs with a rebate cut
into the back pair to run the door in. I could have done it with door
runners but we were on a budget and it only has to work for four weeks
and look right from 20 meters away.


The front stud frame in pic one is supposed to give the audience the
impression they are looking through a wall. Actors pretend there is a
mirror hanging there to reinforce the illusion.

There are nylon slides at either end underneath the frame and a single
screw into the floor - don't tell the landlord please. The frame is
suspended from the ceiling with a black painted rectangular box of
studs bolted to the ceiling and the frame. This enables it to rotate
when required.

In between act one and two, while wine tea and coffee are served, the
stage hands strip the stage of props insert the stud frame walls, hang
the insulating lining, then back it with the gold curtaining. Once the
set is dressed then the audience returns. Scene two is played out as
you see in pic 2 with the insulation and the framing, it is supposed to
be some sort of back room or store room.
Then when that scene is done. the wall rotates, and the final scene
with the glitter and the gold runs.

It made a change from the usual three walls two doors and a window box
set!

Mekon

--
Mekon

"Mekon" wrote in message
...
This director always challenges me.

From the floating sliding door at the back with no visible means of
support. To the spinning frame at the front it was a challenge all the
way.

The sliding door has black painted wall sections (called 'flats' in the
theatre) to either side and then at right angled to give stability,
hide them from the audience and enable the cast to approach from a
'natural' angle.
It was built in a box of three paralell framing studs with a rebate cut
into the back pair to run the door in. I could have done it with door
runners but we were on a budget and it only has to work for four weeks
and look right from 20 meters away.


The front stud frame in pic one is supposed to give the audience the
impression they are looking through a wall. Actors pretend there is a
mirror hanging there to reinforce the illusion.

There are nylon slides at either end underneath the frame and a single
screw into the floor - don't tell the landlord please. The frame is
suspended from the ceiling with a black painted rectangular box of
studs bolted to the ceiling and the frame. This enables it to rotate
when required.

In between act one and two, while wine tea and coffee are served, the
stage hands strip the stage of props insert the stud frame walls, hang
the insulating lining, then back it with the gold curtaining. Once the
set is dressed then the audience returns. Scene two is played out as
you see in pic 2 with the insulation and the framing, it is supposed to
be some sort of back room or store room.
Then when that scene is done. the wall rotates, and the final scene
with the glitter and the gold runs.

It made a change from the usual three walls two doors and a window box
set!

Very interesting and different.

What is the name and author of the play?

"Mekon" wrote

It made a change from the usual three walls two doors and a window box
set!

Good job of problem solving. The set reminds me of the award winning set for
"Dancing at Lughnasa", at my daughter's college, that I posted a while back
in response to one of your posts.


--
www.e-woodshop.net
Last update: 5/14/08
KarlC@ (the obvious)

"Mekon" wrote in message
...
This director always challenges me.

From the floating sliding door at the back with no visible means of
support. To the spinning frame at the front it was a challenge all the
way.

The sliding door has black painted wall sections (called 'flats' in the
theatre) to either side and then at right angled to give stability,
hide them from the audience and enable the cast to approach from a
'natural' angle.
It was built in a box of three paralell framing studs with a rebate cut
into the back pair to run the door in. I could have done it with door
runners but we were on a budget and it only has to work for four weeks
and look right from 20 meters away.


The front stud frame in pic one is supposed to give the audience the
impression they are looking through a wall. Actors pretend there is a
mirror hanging there to reinforce the illusion.

There are nylon slides at either end underneath the frame and a single
screw into the floor - don't tell the landlord please. The frame is
suspended from the ceiling with a black painted rectangular box of
studs bolted to the ceiling and the frame. This enables it to rotate
when required.

In between act one and two, while wine tea and coffee are served, the
stage hands strip the stage of props insert the stud frame walls, hang
the insulating lining, then back it with the gold curtaining. Once the
set is dressed then the audience returns. Scene two is played out as
you see in pic 2 with the insulation and the framing, it is supposed to
be some sort of back room or store room.
Then when that scene is done. the wall rotates, and the final scene
with the glitter and the gold runs.

It made a change from the usual three walls two doors and a window box
set!

Very interesting and different.

What is the name and author of the play?

Lipstick Dreams Helen OConnor and Simon Hopkinson

Here is part of the Press release that went out:

With stars in their eyes...its Lipstick Dreams!

Its the late 1970s (or is that the early 1980s??) and in a small New
South Wales country town the girls at the local hairdressing salon have
got more than perms and trimming fringes on their minds.

Theyre getting ready to perform in a talent night at a local Chinese
restaurant. But their ambitions go way beyond that as they dream of
changing their lives, of being noticed, of getting married, of stardom,
and even escape from their sleepy rural environment.

This is €œLipstick Dreams€�, a funny, sad, inspiring modern Australian
play by Helen OConnor and Simon Hopkinson, the second production of
the year from Front Row Theatre at the heritage-listed Hamilton Town
Hall, located on the corner of Rossiter Parade and Racecourse Road.
Performances are throughout June and early July.

Acclaimed (and newly married!) Brisbane director, Anne Lyons, teases
and colours wonderful performances from our scissor-snipping salon
stars Carolyn Wagner (Jenny, the apprentice), Fiona Surawski (Jess, the
colourist), Kathleen Yorston (Jo, the salon owner), and Julie Bray
(Jan, a customer who goers in for a colour and comes out with much,
much more!).

Find out how their hopes and dreams nearly end up as a bad perm, but
are ultimately styled into a stunning bouffant!

€œLipstick Dreams€� is presented on June 7,13,14,20,21,27,28 and July
4,5, (all at 7.30pm), with a 2pm matinee on Saturday, June 14, at 2pm.

--
Mekon

"Mekon" wrote

It made a change from the usual three walls two doors and a window box
set!

Good job of problem solving. The set reminds me of the award winning set for
"Dancing at Lughnasa", at my daughter's college, that I posted a while back
in response to one of your posts.

Yeah, I remember that one. I am the type that goes to a play forgets
the plot but remembers the set and the lighting!


Mekon

--
Mekon

Mekon wrote:

€œLipstick Dreams€� is presented on June 7,13,14,20,21,27,28 and July 4,5,
(all at 7.30pm), with a 2pm matinee on Saturday, June 14, at 2pm.

A 2pm matinee at 2pm, well who woulda thought.
;-)
--
Froz...

Lits Slut#9

Mekon wrote:

€œLipstick Dreams€� is presented on June 7,13,14,20,21,27,28 and July 4,5,
(all at 7.30pm), with a 2pm matinee on Saturday, June 14, at 2pm.

A 2pm matinee at 2pm, well who woulda thought.
;-)

Yeah, those journos can write can't they?

Mekon

--
Mekon