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The play was a production of "The Miser" By Moliere by the Swan Theatre Company based at The Place in Bradgate Road. Having only constructed one previous set in my life for the same company I must have impressed them sufficiently as I was approached by the director, Steve Caffrey (who is also a friend of mine). The idea he had was not to stage this particular play as a full out costume drama, as it might normally have been done, but to perform it as it probably would have been in 17th century France nearer to when it was written. Moliere himself was for many years a leading member of a troupe of actors who travelled from town to town in a horse drawn wagon doubling as a stage, performing their plays, usually in the exaggerated style of the day. I tried to research what such a wagon would look like but there appears to be very little to find on such things. This in a way was fortunate as I could use my imagination without being concerned about accuracy. The costumes were similarly chosen (not by me) to be representative of the era without being necessarily accurate.

The main problem with The Place as far as set design is concerned is that the audience sits on three sides looking down at the floor. Sets normally are therefore fairly minimal so as not to interfere with view. This gave me the idea of opening up the set from a three dimensional box into what would become a more two dimensional shape creating the whole of the backdrop and stage. A few modifications were made to the design following discussions with the director but the final form was basically as I first designed i.e. a two foot wide corridor at the back for actors to enter from the dressing room, a weight bearing roof with ladder access, a 'secret' rotating panel between the two entrances, a couple of openings at face level and of course a lowering stage and opening out wings.

All painting and artwork was my own including the day and night skies, I was quite pleased with these as I haven't painted since school almost thirty years ago. Construction took me six weeks in my garage and two days on set with two people. The play was on for five days from 21st to 25th February 2006.

. . .and was a very successful production [editor]

	CREATING THE SET FOR "THE MISER" by Giles Dixon

							Alan Hawkins (BDA Web Editor) writes - I asked Giles to submit this article after seeing the production and having been so impressed with his set - possibly the best and most imaginative that I have ever seen in the amateur theatre. Whilst the audience took their seats, two characters are sweeping the floor in front of a full sized travelling wagon that virtually covered the acting area - complete with driving board, reins, whip and travelling cases on top. A washing line was attached at one end - with washing. The side of the carriage was covered with what appeared to be authentic weathered planks of grained timber There were also small practical windows in the wagon, and occasionally a hand appeared through them. As the play started, the two characters lowered the front of the carriage on a hinge and it became the raised flooring for the travelling stage - revealing two doors behind and more windows. A flap was raised upwards which had a blue sky effect with white clouds professionally painted on it. Two doors were swung apart to become wings, effectively covering the entire width of the acting area. Boxes were added to provide steps up the the stage. The complete transformation was achieved in a few moments and was a spectacular coup de theatre - even before the actors burst on to the scene appearing through the doors of the traveler's stage! At one point in the production a fast black-out was used to transform the sky painting to a night sky - complete with tiny stars - very slick! When many companies opt for a basic set it is very pleasing to see such imagination and craftsman-ship used to such good effect. Very well done Giles!
	The play was a production of "The Miser" By Moliere by the Swan Theatre Company based at The Place in Bradgate Road. Having only constructed one previous set in my life for the same company I must have impressed them sufficiently as I was approached by the director, Steve Caffrey (who is also a friend of mine). The idea he had was not to stage this particular play as a full out costume drama, as it might normally have been done, but to perform it as it probably would have been in 17th century France nearer to when it was written. Moliere himself was for many years a leading member of a troupe of actors who travelled from town to town in a horse drawn wagon doubling as a stage, performing their plays, usually in the exaggerated style of the day. I tried to research what such a wagon would look like but there appears to be very little to find on such things. This in a way was fortunate as I could use my imagination without being concerned about accuracy. The costumes were similarly chosen (not by me) to be representative of the era without being necessarily accurate. The main problem with The Place as far as set design is concerned is that the audience sits on three sides looking down at the floor. Sets normally are therefore fairly minimal so as not to interfere with view. This gave me the idea of opening up the set from a three dimensional box into what would become a more two dimensional shape creating the whole of the backdrop and stage. A few modifications were made to the design following discussions with the director but the final form was basically as I first designed i.e. a two foot wide corridor at the back for actors to enter from the dressing room, a weight bearing roof with ladder access, a 'secret' rotating panel between the two entrances, a couple of openings at face level and of course a lowering stage and opening out wings. All painting and artwork was my own including the day and night skies, I was quite pleased with these as I haven't painted since school almost thirty years ago. Construction took me six weeks in my garage and two days on set with two people. The play was on for five days from 21st to 25th February 2006. . . .and was a very successful production [editor]

							WHY DON'T WE ENTER A FESTIVAL? by Colin Dolley (GODA) Read this article by clicking here
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