Design III Musical Design Project, 2018 - Pippin by: Roger O. Hirson and Stephen Schwartz
Projections Designer: Jared Wolt
Scenic Designer: Natalie Ervolino
Costume Designer: Mark Parrott
Special Effects: Bethany Tegeler
Lighting Designer: Sky Bradley
Director: Taylor Brandel
Stage Manager: Marie Angier
The goal for this project was to design a hypothetical production of Pippin for the Strayer-Wood Theater at the University of Northern Iowa. We were allowed to use any equipment the theatre department had on hand, and any equipment the theatre department would be able to hypothetically buy or rent within reason.
Projections Designer: Jared Wolt
Scenic Designer: Natalie Ervolino
Costume Designer: Mark Parrott
Special Effects: Bethany Tegeler
Lighting Designer: Sky Bradley
Director: Taylor Brandel
Stage Manager: Marie Angier
The goal for this project was to design a hypothetical production of Pippin for the Strayer-Wood Theater at the University of Northern Iowa. We were allowed to use any equipment the theatre department had on hand, and any equipment the theatre department would be able to hypothetically buy or rent within reason.
For my projections design I began researching christian imagery, frescoes, and circus designs to help format an idea of what the design would look like. I really wanted to create a design that used real images, depictions, and material from the time of Charlemagne and the people we see throughout Pippin.
Stain glass window at Chartres Cathedral in Chartres, France
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Charlemagne is destroying the Irminsul, by Hermann Wislicenus
Harun al Rashid receives envoys from Charlemagne, by Julius Köckert
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Depiction of Charlemagne (Left) and Pippin (RIght), recreation of original which was made between 829 - 836
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After collaborating with the other designers, I decided to use in the production, five Elation brand Emotion projectors. These projectors allowed for free movement through the space for projections, and the use of digital gobo templates that I wished to use during certain scenes to accent the stain glass windows and christian imagery.
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One design aspect that the team wished to build into the design though was the use of tarot cards. We concluded that we would project these cards and that they would coincide with certain scenes in the production.
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Tarot card designs courtesy of darktarot.com
The scenic designer and I discussed where I wished to be able to project, and settled on a mixture of locations, that included the tent flaps of the scenic design and the drop down door of the wagon that moves periodically around the set in the production. I also drafted out the exact positions that my projectors would be positioned in to optimally cover the positions, without conflicting with the lighting design.
3D groundplan drafted by Scenic Designer: Natalie Ervolino
Projection Locations include the four tan tent flaps in the back, the wagon ramp/door, the overhead banner, and the stage floor.
Projection Locations include the four tan tent flaps in the back, the wagon ramp/door, the overhead banner, and the stage floor.
I selected three projectors to back project down onto the tent flaps, these projectors would be mounted on the third electric. I also have two projectors mounted on the front of third catwalk. All content would be mapped to their designated surfaces using Resolume 6.
Finally I generated a sheet of the ideal moments for the projections, and performed additional research of possible content to use, which was then presented to the class in a final design presentation.
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