A Doll�s House
(scenery design)

This production was presented in one of the world�s most unusual formal theatre spaces, The Kitty Carlisle Hart Theatre in "The Egg" in Albany, New York. The Egg itself was, when built, part of the largest construction project in American history, the billion dollar Nelson A Rockefellar, Empire State Plaza. The Hart theatre is one of two performing arts spaces in the $100,000,000 (1960s money) Egg. Although I was the inaugural technical director of the facility, this was my first design in the Hart Theatre.

Many features make this space unique. The entirety of the behind the proscenium area, for instance, is part of an extremely elaborate elevator system that descends, rigging, lighting, and all, 10 stories below the stage, to the shop area. This elevator system serves both the Hart stage, seating 400, and it�s larger twin, the 1,000 seat main theatre. The elevator system alone took 13 years to build.

Intended originally as a recital hall, the space has very unusual proportions. The proscenium, for instance is much taller than it is wide, while the width itself is very narrow. As the main stage proper is within an elevator shaft, there is no wing space at all. There is a substantial apron area but the stage is awkwardly divided between apron and behind the proscenium areas. The sight lines are extreme, with the audience wrapping about 120 degrees around the apron. The space, empty of scenery, looks to be very tiny. It is a challenge to design in for straight theatre performance.

 

The setting consisted of a series of low, tiered platforms, painted using FEV techniques to simulate polished wood. Overhead, were two rosettes in perspective, to which fabric draped ceiling panels were attached. Walls of the Helmer House were only indicated by a series of posts, floating cornices, open window units and decorative fabric. The wood was all stained poplar, built in perspective, with Scandinavian architectural features. Within the wall areas down stage, there were also decorative mirrors that were carefully placed in angle so as to reflect images of the actors as though they were in a kaleidoscope, without projecting distracting reflections into the audience area. Furnishings were all period antiques including an 1840s working piano which was used through the run of the production. The audience seating was never farther from the stage than about ten feet so attention to detail in construction, decoration, and furnishing was very important.