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“Whilst I was finishing the rehearsal draft of the script,  Jens Demant Cole started on set construction and progressed the scenic design elements simultaneously.

A slightly unusual way of working but we’re not the RSC so we can. We are indebted to Oily Cart for the donation of an old set to weld it from. We’re all winners really as it’s saved on expenditure on a very lean set budget,  and it’s saved Oily C from having to dispose of the steel, spared a few carbon emissions and some time. The structural elements in their single components are light enough for me to lift so our team should manage easily .The painted cloth grows more beautiful daily. I love its abstraction giving both the eye and the spirit somewhere to go to in between moments when the text needs to breathe. For me it really connects to the big skies and future that our Doctor Stockmann is constantly aiming for.  it creates the connection I spotted on one of my research trips: the similarities between the Cornish skyline –  the memory of which fed her when she was abroad – and the Indonesian one (from my father’s cine films). It will be digitally printed onto canvas to make it light and easy to tour without wrecking it.

Our sound designer Rich Walsh has made some great suggestions about aural punctuation between the scenes and live Foley type work for the cues during the action. I’m very excited about this. What I absolutely adore about Rich is that he cares as much that people in a school hall get the same quality of experience as the audience at the National theatre where he has just opened a show. And he explains my show to me… As does Jens

Designers are briliant – everyone should have some in their lives.

(an extract from the Artistic Director’s report to the Trustees)

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