Escher s Forgotten Garden

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Escher s Forgotten Garden Cara Marcy 142 West Street, APT #2 Worcester, MA 01609 (508) 317-6694

1 Escher s Forgotten Garden Cara Marcy 142 West Street, APT #2 Worcester, MA (508) cmarcy@wpi.edu Paul F. Messier 158 Concord Road, Apt. K27 Billerica, MA (860) pmessier@alum.wpi.edu

2 Table of Contents 1. Introduction Structural Design and Playing Areas Platforms and Playing Spaces The 20 Quarter Circle Platform The 40 Platform The 52 and 64 Tiers The 33 Platform The 47 Platform Stage Floor Platform Facades Staircases Stair A (Spiral Staircase) Stairs B, C, D, E and F Muslin Backdrops Scenography Other Design Considerations Audience Seating Show Control Cubes Lighting Considerations Sound Considerations Federal and State Regulations Cost Analysis Conclusion... 7

3 1. Introduction M.C. Escher ( ) was known for exploring and breaking the laws of geometry and logic of space. Relativity (1953, see front cover), for example, derives its impossible reality from a mathematical figure known as the Penrose Triangle. Escher s work was clearly influenced by mathematical paradoxes and impossibilities, but could there be a real location that had a hand (no pun intended) in inspiring the creative side of his work? A lost oasis that he, and only he, knew about? Escher s Forgotten Garden explores the concept of this secret place. A place he would go to escape the equations that filled his pen and paints. Like Escher s painting, this design challenges perspective and height in the Little Theatre like never before. It will open the minds of all who see it to challenge space, challenge reality, and make possible what may seem impossible before. 2. Structural Design and Playing Areas Escher s Forgotten Garden consists of five playing levels (including the stage floor), six staircases (not including escape stairs and basement stairs), a two tiered section and two muslin backdrops. The following paragraphs give a brief description of each playing area. Please refer to the model for overall set layout, perspective and approximate position in the Little Theatre Platforms and Playing Spaces In total, approximately 500 of the roughly 2000 sq. feet within the Little Theatre is flat playing space of various heights. No two playing spaces are of equal height throughout the scenic design and all are interconnected by the network of six staircases to resemble the various levels and stairs in Relativity. All heights indicate the level of the playing surface (i.e. top of plywood on platform) above the typical stage floor height. Please refer to the drawings attached at the end of this design for approximate dimensions and build instructions. For clarity, compass directions are used whenever possible (North is Riley Commons). While several sections of the scenic design reside over the south seating sections, no seats of the south seating section are to be removed. Special care and attention has been paid to the structural elements in the south seating area to allow the scenic design to be built over and without harming the existing permanent seats while providing a strong, sturdy and durable playing area The 20 Quarter Circle Platform The largest in area of the platforms, the 20 Quarter Circle platform is located center stage with respect of the entire set. The circumference of the curved section of this platform is concentric with the Spiral Staircase (Stair A). Stair F is located inside the curve of the platform and centered at the 45 point in the curve. Two linear feet of playing area extends on the south side of the quarter circle to meet the 40 2

4 Platform while an additional four feet of linear playing area extends on the west side of the playing to meet the 33 Platform and Stair C. The 20 Quarter Circle Platform can be accessed by Stair F from the stage floor, Stair C from the 47 Platform, and from the AYO Green Room via the escape stairs The 40 Platform The 40 Platform is located directly south of the 20 Quarter Circle Platform. This platform is designed to start at the two southern Little Theatre I-Beam columns and extend six feet over the first row and most of the second row of the south seating area. The length of this platform runs from the booth wall to the edge of the half wall in the south-east corner. The 40 Platform can be accessed by the Spiral Staircase (Stair A) from the AYO Greenroom and from the stage floor via Stair B The 52 and 64 Tiers Immediately south of the 40 Platform are two tiered sections: the 52 Tier and the 64 Tier. The 52 Tier primary function is to cover the seats behind the 40 Platform, but has been designed to hold the weight of an actor. This area is not considered a playing area as it is too close to the grid for the average actor to stand on, but may be used by an actor to sit on, to lay on, to kneel on, or any other activity in which the actor s head is not above the light line or the grid. The 64 Tier is a purely decorative to cover the seats behind the seating section made of luan and scrap wood The 33 Platform 1 The 33 Platform is located to the west of the 20 Quarter Circle Platform. It is a primarily rectangular platform with the exception of a 45 angle side on its north-east corner between Stair D and Stair E. Part of the platform is to be overlapped by the 47 Platform. The 33 Platform can be accessed by both Stair D and Stair E from the stage floor level The 47 Platform 2 The 47 Platform is the highest designated playing area in the scenic design. Approximately four feet of the platform extends over the basement stairs. In combination of with the 20 Platform hiding the stairs at floor level, it will appear the actors are coming out of the set similar to staircase in Relativity coming out of the middle of the page. The platform is to be secured to the 33 Platform for support on the 1 The actual build height of this platform is 33-5/16 in order to be level with appropriate stair height. 2 The actual build height of this platform is 46-11/16 in order to be level with the appropriate stair height. 3

5 north end while the south side will be supported by a hidden 4x4 post. There will be approximately 6-1 of clearance for actors to pass under the platform while they walk up and down the basement stairs. The 47 Platform can be accessed by Stair C from the 20 Platform Stage Floor The area in front of the 20 Quarter Circle Platform within the boundary of the I-Beam columns at stage level is to be used as playing area. Access to all platforms, except the 47 Platform, can be reached directly from this stage floor playing area Platform Facades All platforms are to have a front and side luan facade to mask structural support and to facilitate the sceneography Staircases Even though it may be impossible to build staircases in the configuration of Relativity, Escher s Forgotten Garden incorporates six staircases into the scenic design in a configuration that is fully functional yet visually complex. All staircases, with the exception of the Spiral Staircase, have a 6-11/16 3 rise in a 12 run. The following paragraphs briefly describes the staircases Stair A (Spiral Staircase) Even though all the stairs in Relativity are straight, Escher s Forgotten Garden is the perfect opportunity for the Spiral Staircase to make its Little Theatre debut! While the Spiral Staircase was originally designed for the 38 height of Alden Stage, the Spiral Staircase can be easily raised 2 by adding several layers of plywood to its base. This addition of plywood, in conjunction with the ability to fasten the landing to the 40 Platform, will allow the Spiral Staircase to be completely freestanding within the scenic design Stairs B, C, D, E and F Stairs B, C, D, E, and F are all essentially the same stair with slight variations. Stair B is five steps tall, Stair C, through E are 4 steps tall and Stair F is two steps tall. Stairs B though E are 3 wide, while Stair F is 4 wide. The same stair runner can be used is for all stairs (including the escape stair from the 20 Quarter Circle Platform) simplifying the set build. It is also safer for the actor to transition from one playing area to another when all the steps on the scenic design are identical. 3 If you divide the height of the 40 platform by 6 steps, you get a 6-11/16 rise. This measurement is critical to the proper proportions and perspective to the set. 4

6 The sides of Stairs B through F are to be sided with luan if it is in direct line of sight from the audience to conceal the supporting structure Muslin Backdrops Behind the 64 Tier and the behind the 33 /47 Platforms, two muslin backdrops are built. Each backdrop is made of a single piece of bleached muslin stretched on a frame. There are to be no seams in the muslin. Additionally, the frame for the south backdrop is to be free of cross brace supports behind the muslin to allow for lighting considerations. 3. Scenography The scenic design of Escher s Forgotten Garden is to create a color palette that portrays the feeling of an abandoned industrial complex that eventually became overgrown like a faded, rusty cast iron stove or car part found in a junk yard. The overall concept is that the colors grow out from the platforms and are heavier on the edges, around corners and lips of stairs, just like if it were to actually rust. The colors continue to move onto the floor and out, fading the further away from the platforms it gets. Three of the four I-beams (the exception being the northeast I-beam) would also receive the same paint treatment all the way up to the grid. To incorporate the forgotten garden feel, the three painted I-beams, the railings on the Spiral Staircase, in front of the 20 Quarter Circle Platform, and in between Stair D and Stair E would be painted ivy. The ivy circles all the way up the beams and into the grid with a few pieces dangling down from the grid in the vicinity of the I-Beans. Ivy can also be incorporated into other structural elements of the Little Theatre where it will continue the garden theme but does not interfere with actor or audience safety. The following is the recommended way of creating the desired rusted cast iron effect. Start with a base coat of black for all structural elements (except the booth and Stair A) of the scenic design. Then, apply watered down wash of a dark brown allowing a large amount of black to remain visible, followed by a wet sponging of various colors such as a dark, reddish brown, or burnt sienna, and a brown mustard yellow. The original black layer should still be apparent throughout the set, but smudged over. Finally, speckle the area with red and a dark blue and light grey. The muslin, which is bleached white and stretched out on a frame, should also be speckled in the same manner (exchanging the light grey for black) except slightly watering down colors used on set. This will give it the effect that it will look like unbleached muslin, but it will match the colors of the set and will be able to better absorb light applied to it. 4. Other Design Considerations Lighting, Sound, Seating and other considerations, as they pertain to Escher s Forgotten Garden, are discussed in the paragraphs below 5

7 4.1. Audience Seating Audience members are to sit in seating sections along the east and north walls. The current three rows of permanent seats along the east wall are to be used as is. The new seating platform in the northeast corner as built for Romeo and Juliet is also to be used as is. Five rows of seats are to be added along the North Wall. No more than the back three rows of this seating section are to be elevated. This seating section is to be built from existing scene shop materials and may be carpeted to match the east and northeast seating. Refer to the model for approximate location and design Show Control Escher s Forgotten Garden intentionally incorporates the booth as part of the overall scenic design and is to be used for show control Cubes Only standard full cubes and half cubes are to be used in the scenic design. All cubes and halfcubes are to remain painted black Lighting Considerations Escher s Forgotten Garden was designed so that the playing areas can be lit without having hard light wash into the audience seating. Bleached muslin was chosen for the backdrops not only to provide a suitable painting surface, but also to catch any color light that is pointed at it. The west backdrop must be front lit due to the Little Theatre wall, but the south backdrop has the option of front and back lighting Sound Considerations Escher s Forgotten Garden, with the audience on the east and north sides of the theatre, should have adequate sound reinforcement from the existing speaker locations. Subwoofers may be added under the set if deemed necessary Federal and State Regulations Escher s Forgotten Garden is ADA compliant with wide isles for wheelchair access and a minimum of two floor levels with removable chairs in the north seating section. Both fire exits are easily accessible and in close proximity to all audience seating (The basement stairwell is not considered a fire exit by the City of Worcester). 5. Cost Analysis Below is a details, conservative, cost analysis of Escher s Forgotten Garden. When possible, scene shop components are used with custom components built around the standard components. 4x4s 6

8 from the scene shop are to be used for platform support. All Stairs, with the exception of Stair A, are to be custom. Rather itemizing all building supplies, the cost analysis is broken down by scenic component. Platforms (Custom Build Sections) 20 Quarter Circle Platform... $ Platform... $ Platform (Including 52 and 64 Tiers)... $ Platform... $0.00 Luan Façade (All Platforms)... $ x4 Legs... $0.00 Platform Subtotal... $ Stairs Stair A (To raise Spiral Stair 2 )... $40.00 Stair B... $36.00 Stair C... $30.00 Stair D... $30.00 Stair E... $30.00 Stair F... $20.00 Escape Stairs... $15.00 Stair Subtotal... $ Scenography South Muslin Backdrop (Including Frame)... $55.00 West Muslin Backdrop (Including Frame)... $ Paint (Including Primer based on 250 sq. ft per gal coverage)... $ Painting Supplies... $50.00 Ivy... $50.00 Scenography Subtotal... $ Total... $ This total is a very conservative numbers and assumes almost all of the lumber will have to be bought. It is also important to note that a large amount of the lumber and sheetstock used in the scenic design can be saved and used for future shows in the Little Theatre. 6. Conclusion Escher s Forgotten Garden will transforms the Little Theatre. In keeping with the spirit of M.C. Escher, this scenic design challenges perspective, challenges height and challenges space like never before. Finally, it will inspire creativity in all who work with it and around it, just as Escher s secret spot inspired him to creatively apply the impossible realities of his work. 7

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