Stage nearly ready for 'Oliver!'

MAY 21, 2006 - PORTSMOUTH HERALD
By Andrea Bulfinch

Editor’s note: This is another in a continuing series of articles that looks at what’s happening behind the scenes at this year’s Prescott Park Arts Festival mainstage production of "Oliver!". Performances begin June 24.

Down by the docks at Prescott Park, a familiar structure is beginning to take shape in the center of the park, hinting of a theatrical summer to come. Lately the pouring rains and gray skies have painted the backdrop of Portsmouth dreary, but as the rain falls, the staging for "Oliver!", is going up.

Russell Bolian, festival production manger for the Prescott Park Arts Festival, is the master carpenter, or "the mighty one," as he’s called by the folks at PPAF, for the show. And the persistent rain hasn’t stopped him yet.

Bolian has been building sets for theater since 1989 for various productions. He’ll also take to the stage this summer as Mr. Grimwig in the play. But constructing the set is high on his list of enjoyment.

"This is the fun part of my job," he said.

What that job entails is taking a drawing, created my Main Stage Director Michael Tobin, and translating his vision into a tangible set. The set is built on scaffolding, added platforms, walls and stairs. These components are what essentially hold everything up.

"It’s the stronghold for the set," he said.

He describes his part in the set’s construction as being "relatively easy," though you wouldn’t know it from looking at the monstrous structure in the park.

The show is composed of 12 different scene location, Tobin said, and so the basic unit for the set has to accommodate that. Other elements will be added to the set to suggest the imagery and location of where the scene is taking place.

"Obviously we’re not going to bring in the full London bridge," Tobin said.

He started by looking on-line and researching the period and location of the story and taking ideas from there. He then drew a design concept, which did not include any measurements, handed it over to Bolian and basically said, "Build it!"

Bolian and Tobin have worked together previously, the most recent production being "A Christmas Carol" in December. Tobin said he feels totally comfortable with Bolian creating the set from his drawing.

"He knows how to take nothing and make it into something. He knows his tools," Tobin said.

And Bolian likes the freedom he gets in building the set, not being constricted from measurements right from the start.

"When you start, it’s much easier to come in and say, ‘I’ve built it this height, what do you think?’" he said.

The set being the main structure for the entire show, has to be built before any lighting or sound equipment can be added to it. And before that, painting of the set has to be completed, which, again, because of the rain, will be tricky.

The lighting relies on the trussing, the metal structure hovering above the back of the stage.

Bruce Morriss, who worked with PPAF in the ‘80s, is in charge of the lighting for the show and agreed that the lighting, in this case, will be defined by the existing structures like power poles and trusses.

Morriss was sitting in front of his computer at the time he was interviewed designing a light plot. The design is based around meeting the needs of the play, examining the physical space as well as being mindful of the budget.

To get the lighting right, he takes into consideration each scene, the performers and scenery and the speed of the music.

Setting the lighting up will take place over a few days, starting with Morriss going into the park with a crew and putting the lights into position. Then he’ll visit after dark to do a "focus call" and test the lights. Once that test is complete, he’ll attend some rehearsals and take notes on each scene and where the characters are on-stage. He’ll take the notes back to his computer and put the cues into the script for the operator.

"All they need to do is essentially press the ‘go’ button," he said. This show, he added is not "extremely cue intensive." Morriss will take note of any changes that need to be made by observing more rehearsals.

For him, one of the challenges is working with the natural light outdoors. As the nights get darker over the summer, he’ll make the necessary adjustments to accommodate the changing light.

Something else he’ll have to accommodate is the color of the costumes.

"For a musical like this, it’s important that the costume colors be seen in something somewhat close to their true color," he said. He’ll focus on the separating the actors from the background.

"For this particular production, I’m going to be fairly subtle with my color choices," he said.

Like Bolian, he enjoys his work and the creative process behind it.

"It’s a tremendously satisfying medium to work in as an artist," he said.

With about a week and a half till opening night, all the pieces are falling into place.

"There has to be a definite plan because everyone depends on each other," Tobin said.

Most of the materials for the set were readily available to Bolian at the park. Some of the more obscure pieces, like hardware, hinging, handles, even a set of barn doors, had to be either created or found.

"You can’t just use a Rubbermaid cup," Tobin said. Because the show is from a particular time period, the set and props, which Tobin estimates as being in excess of 100 pieces, all have to fit that period. Whatever they don’t already have, they borrow from other theater companies, basements and attics, he said.

Like the costumes being created and distressed for the show, each prop, big or small has to match the setting.

"If you have an idea of the basic item, you can find something as close to it as possible and build around it," he said. For the song "Food, Glorious Food," the wooden bowls needed will be distressed, just like the garments the actors will wear.

Bolian’s main concern when building a set is always safety, as is Tobin’s.

"No one goes on the set until it’s tested," Tobin said. And the first man to take that step on-stage? Well that would be Bolian. He tests out the structure to make sure it is secure, all the pieces are put together and, in building it, has to make sure it can sustain the weight of the actors and handle the unpredictable weather elements. He also makes sure everything is bolted down so that pieces don’t disappear from the park.

"He has met and exceeded my expectations," Tobin said of the work Bolian has put into this creation.

Despite the rain, Bolian said it’s been nice working on the set out in the park. There’s been some misting, and some of the material has been victim to the blowing wind, but no major problems have arisen because of the weather, he said. Though if they did, Tobin noted that Bolian’s good sense of humor helps to get through any stress.

Soon enough, Bolian will be on that stage, in character and costume, but right now, he’s toiling away and enjoying every bit of his time as the carpenter.

"To know that the finished product is something you’ve done by hand is very gratifying," he said.