Issue link: http://digital.copcomm.com/i/974985
7 4 P E R S P E C T I V E | M A Y / J U N E 2 0 1 8 two directors (Scott Ellis and Alex Rudzinski) and I were making weekly visits to the Warner backlot to weigh the options. The script laid out a complicated group of scenes that would require the company to bounce from one building to the next (and back) in a fluid and perhaps musical way. Book scenes were set in very real spaces, while the musical numbers were meant to be magical fantasy sequences that existed inside the characters' imaginations. This was the challenge that I was hoping to sink my teeth into! And there was no luxury of post production visual effects, traditional theatrical conceits and in- camera tricks would be required to transition from one location to the other. I presented the idea that, where possible, we use common theatrical conceits to move from the real to the fantasy spaces. That meant that kitchen walls would suddenly pivot open, chalkboards would fly out, as in a typical theatrical venue, and turntables and hidden curtains would appear out of nowhere. Finding a common language for the fantasies was important, and after much back-and-forth, the idea that our B musical numbers would, in a nod to the old movie musicals of the '50s and '60s, share the common language of being set in front of a white cyclorama was collectively embraced. One cyc, unfortunately, would not do the trick. Due to the flow of the show, at least four would be required. The need for those spaces would prove to be the deciding factor to where all of the sets would be located. I would read and re-read the script constantly asking: "Does this scene have a musical number? Does it need a cyc? Is there room for a cyc in that structure?" Other factors also weighed heavily. "Is there enough time for the actor to get from this set to that other set?" "How many ensemble members will be dancing in that scene...oh, but can they get from point A to point B within that dance break?" In the end, transformable space and logistics would dictate where each of the sets would land. Fortunately, one of the existing homes on the residential part of the lot could be cleared of the existing stock scenery, thus leaving a relatively open and blank slate. Once cleared of its contents, including a few surprises left by a family of resident raccoons, it was to become the Parker family home. The script alluded to a second-level bedroom that would allow our cast and crew to A. MASTER PLAN OF THE WARNER BROS. MIDWEST STREET BACKLOT DRAWN BY RESA JORGENSEN. GREEN SPACES REPRESENT PHYSICAL SETS, BLUE SPACES REPRESENT MUSICAL NUMBERS AND MAGENTA MARKS PHYSICAL PRODUCTION ELEMENTS (TRUCKS, LIFTS, CABLES, ETC.) B. WARNER BROS. MIDWEST STREET DOUBLING AS HOHMAN, IN. C. EXTERIOR OF THE PARKER HOUSE ON CLEVELAND STREET. PHOTO TAKEN DURING THE LIVE TELECAST. D. THE KITCHEN OF THE PARKER HOUSE, WHICH SPLIT OPEN TO REVEAL ANOTHER SET. E. CONCEPT SKETCH OF THE PARKER FAMILY KITCHEN BY JOE CELLI. A