Issue link: https://digital.copcomm.com/i/1177962
At the start of the build, the fl oor of the converted warehouse that would serve as a stage was far from level, requiring construction to build a massive deck for the set. Though it was a blow fi nancially, creatively it allowed me to play with diff erent elevations inside the casino. These elevations helped create distinct divisions between areas while keeping everything open and connected. To authenticate the casino, set decorator Ryan Welsh acquired 180 chairs from Las Vegas that smelled of tobacco and spilled alcohol, complete with cigarette burns on the cushions. The buff et and lounge chairs were upholstered in diff erent shades of the same fabric, to give a sense that the chairs had been replaced over time, but only as needed. One of the biggest challenges was sourcing the casino carpet. Over nine hundred square yards of the main carpet pattern were needed to cover the main fl oor of the set. To the dismay of the wonderful and ever-so-patient Art Director Danielle Aziz, vintage casino carpet was solid right out from under her...twice. This made it necessary to have a pattern printed within an uncomfortably tight schedule. The Art Department let out a big sigh of relief when the carpet arrived just in time. With the limitless talent of Graphic Designer Monica Fedrick, the casino was customized with original LED signs, stencils, tiles and wallpaper. Her keen eye made the sets more authentic, down to the tiniest details. I was given a lot of freedom when designing the casino, most notably with the high stakes room. The footprint was laid out to mirror the underground tunnel that would later be built. It had a long hall leading to a round arched room of luxury and debauchery. Much of this season's story blurred the line between dream and reality. This set was the jumping-off point for that concept. As the characters started going down that rabbit hole, so-to-speak, they could conveniently fall onto comfortable cushions as they began to pass out. Coincidently, this set also became the most likely place to fi nd crew members having a lunch-time nap. The custom playing card illustrations hanging in the archways were artfully drawn by Alex Zablotsky and turned out to be some of my favorite pieces of the season. Each animal represented one of the story's conspirators and corresponded to the animals carved on each of their individual ceremonial prop pipes. E. HIGH STAKES ROOM. PLAN AND ELEVATIONS. DRAWN BY ANDREW LEITCH. F. HIGH STAKES ROOM. NICKNAMED "THE DRUG ROOM." BUILT ON STAGE. G. PLAYING CARD ILLUSTRATION. GRAPHIC LAYOUT. DRAWN BY ALEX ZABLOTSKY. E F G