LEIGH WITEK THEATRE PORTFOLIO

“MACBETH”- 2016

1st PlaceUIL Texas Theatrical DesignIndividual Set: Division 1

“Macbeth” cont.

“Macbeth” Ground Plan

The idea for my model of Shakespeare's "Macbeth" set in an insane asylum rose out of my research and readings of the play. I was entranced by the dark elements of the story and the extent of Macbeth's descent into insanity. I saw the 2010 film of "Macbeth," directed by Leonardo Henríquez, in which the witches were dressed as nurses in a World War II combat zone. I really liked that portrayal of the witches and kept it in mind. While contemplating Macbeth's inner turmoil, I eventually came up with the asylum theme. My concept involves a 1930s Siberian asylum that had been taken over by the patients and has fallen to ruin.  I wanted an abandoned look because it heightened the degradation of Macbeth's sanity as well as the tone of dread and death. I was also inspired by pictures I found in National Geographic with an article about Russia. The images of isolated individuals in a cold landscape felt very foreboding and lonely to me. Winter images of forests helped me to visualize what environment might be outside the asylum.  I used colors of cooler temperatures in my model such as dark greens and purples to highlight the walls and floor. These colors are a representation of envy and royalty respectively; an illustration of Macbeth's burning desire for the crown.

I chose to place my set in a cell block style hallway because of the possibilities involving the doors. Not only does this provide multiple entrance points for cast but I imagine high tension scenes with the doors opening and closing, using the audio effect. I ended up adding the catwalk for additional levels. Scenes in different rooms can be a heightened with an element of separation. Stairs of course lead down to the lower level, but I positioned it to create a podium-like center stage. This could be used for monologues. The stairs are not the only mode of level changes. There are fireman-style poles both stage left and right.

One of the biggest goals I had when designing this set was making sure that I used the entire stage, including all its vertical components. The large window, when backlit can be used to portray the time of day. At night, the ceiling lamps flicker and can be set to cast a dim overhead lighting and attract attention to one spot on stage.

I also wanted to focus on the small details of this set. Light switches, directional signs, a fire extinguisher, and a radiator add to the asymmetry of the design and bring the asylum atmosphere to life. Quotes from Macbeth line the walls in graffiti that have been left by deranged inmates. I would have loved to written all the text in the Cyrillic alphabet, but in order to allow the audience to understand the iconic "Macbeth" references, I left them in English.  These, accompanied with the advanced deterioration of the walls and of the building debris, make for a spine tingling air of foreboding. The last details I included were the gurney and wheelchair to add a smaller level. Their mobility also provides unlimited possibilities for placement.

I chose to use a physical model when building my set because I don't think a drawing could quite portray what I wanted to accomplish. I did have a considerable challenge in incorporating all the textures and details I had planned. I solved this by constructing most elements in Photoshop using original pictures and then attaching them to foam core boards. This allowed me to create an effective set for "Macbeth" filled with intricate details and a theme that truly reflects the tone of the play.    

“Macbeth” Justification

“CATS”- 20153rd PlaceUIL Texas Theatrical DesignIndividual Set: Division 1

“Cats” cont.

“Cats” Inspiration

When I think of felines, I imagine the legends of cats having nine lives. So, when creating my set design for "Cats," I drew inspiration from the ancient Mysore art style. It is a prominent artistic movement dating back to 7th century B.C.E. and was established in Southern classical India. It centered around paintings of Hindu gods and goddesses. Mysore was known for its delicate brushstrokes and use of muted colors. The main aspects of my set came from the lotus flowers found in many of these works of art.

How does this relate to "Cats"? One of the main Hindu beliefs revolves around reincarnation, comparable to the idea that cats have nine lives. As I delved deeper into Hindu art, I discovered that many pictures of Hindu gods such as Lakshmi and Gansha, are often depicted sitting on lotus flowers. After further research, I found that the lotus is a symbol of divinity and purity. I related this to the character of Old Deuteronomy who is portrayed as a divine being with superior status as the cat who chooses which of the others will be born again. The rest of the set is based on the idea that it is a throne room in which to host the Jellicle Ball for Old Deuteronomy.

The lotus serves as a back rest to Old Deuteronomy's throne. There is a fairly open space at the throne's base so that Old Deuteronomy may comfortably stretch and sit as cats do. There are many levels of leaves on this set to provide different levels and depth for varied stage pictures and blocking. The leaves are also big enough to accommodate many dancers and give them more room to move. I had trouble making the leaves for the model because they are made out of paper. When the paper began to flop, I used a supporting notecard underneath that kept the paper stiff.

I also had to think about the obstacle of crafting a set that can handle a large cast of dancers. This is done by creating the levels of leaves, but also by building the set in a semi-circle to allow for a dance floor in the middle of the throne room. There is also plenty of space for entrances under the leaves that the actors can crawl and slink through. Another level is added with the elevated leaves upstage. There are green ropes attached to them so that actors can climb, lounge, sing, or even dance from the tops of the leaves or the ropes. This also gives a use to the area above the set.

Many of the colors used in Mysore art are soft, almost pastel. My color choices include greens and pinks from the lotus flower, but the background is colored with blue and purple. I noticed that blue was a common color for the backgrounds of Mysore paintings, so used this blue not only as a direct inspiration from the art style but also to illustrate the usual environment of lotus flowers which typically grow in water. Also, purple symbolizes the color of royalty, adding to the regal feel of the set. Not to mention, the blue and purple looks spectacular with the pink flowers and makes the colors pop.

This set incorporates many levels and spaces for a large cast complemented by carefully chosen colors in order to make a design for "Cats" that represents the spirit of the classic Mysore art style.

“Cats” Justification

“TARTUFFE”- 2014

5th PlaceUIL Texas Theatrical DesignIndividual Set

“Tartuffe” cont.

“Tartuffe” Inspiration and Ground Plan

When creating my set design for “Tartuffe,” I didn’t want to take a traditional approach. I wanted to avoid making a typical 17th century house as much as possible. My answer to this problem lay in the plot. “Tartuffe,” is a story of love, betrayal, and machination. Conflicts intertwine with each other like grinding gears. Gears immediately made me think of clockwork and automatons of the era. They exhibit the complexity and precision that perfectly reflect this play.

Themes of clockwork are shown throughout my design. I took inspiration from the Big Ben clock tower when creating the background. The ultimate vision for it is to have the hands move throughout the play via projector screen; perhaps counting down to Tartuffe’s betrayal and strike the hour. Also, the gears on the walls can turn simultaneously while the clock moves. It would be a great and interesting transition between scenes.

Also in trying to avoid a basic house, I had to manipulate the structure of the set. Instead of basic square walls, I used irregular shapes to create a different style. The walls leave enough room in between each other for actors to fit and use as doorways. There is one stage left, stage right and of course, up the stairs. The gears on the walls are once again an extension of the clockwork theme. There is a large opening in the wall stage left that could be interpreted as a window. But, its real purpose is to allow a better view of the clock face.

My color scheme includes blues, browns, blacks, and oranges. These were the base colors that I used for the walls, floor, and background of the set. But metal is an important part of steampunk too. Knowing this, I sponged metallic paints of gold, silver, and bronze over the whole set as a way to add more color and to match the gears, which were also painted the same.

Clockwork is the theme used throughout my set that is able to take “Tartuffe” and remake it in a unique and interesting way, bringing the plot of the play straight into the actor’s surroundings.

“Tartuffe” Justification

“THE HOBBIT”- 2013FinalistUIL Texas Theatrical DesignIndividual Set

When creating my set design for “The Hobbit,” I really wanted to incorporate themes that J. R. R. Tolkien envisioned in the book. I focused on the overall concept of dwarfish culture, made up of geometric as well as abstract shapes and architecture, which I tried to include in the set.

The main inspiration for the structure of my set was basalt columns. They had a specific shape that I found very visually appealing. I took the edges of these columns and straightened them as well as made some crooked and abstract. I used this design for the walls on the set, the edge of the stage and the moveable set pieces.

The scene I chose from “the Hobbit” was when Thorin and company are captured by giant spiders in Mirkwood Forest. The large spider web on stage depicts the thirteen dwarves encased in the trap. The scenery of the forest can be projected on the screen at the back of the stage.

The use of the stage was a large obstacle for me when designing the set. Fourteen plus actors would have to fit on the stage all at once. I made sure to leave a lot of space between set pieces allowing the actors to move around freely, especially for action sequences. The moveable set pieces near the front of the stage and the lower columns on the walls can be used so actors can sit or stand on them.

Around the edge of the stage I featured more dwarfish architecture, also projected onto the set. I also included dwarf ruins that are used in “The Hobbit”. At the top, I added the elfish inscription on the One Ring since it is a major component of the story along with Gandalf’s symbol.

As for color choices, I thought about the mood of the scene and the description in Tolkien’s writings. This is a very dark part of the book. The dwarves are trapped and Bilbo alone can save them. In the book, the forest itself is very eerie and mysterious. Keeping these points in mind, I used a lot of dark greens and greys.

I believe that using a combination of sparse set elements with details from the text of J. R. R. Tolkien; I was able to successfully create a set that could be used on stage.

“The Hobbit” Justification

OTHER PROJECTSLeft: “Anatomy of Gray”- 2015Projection and Lighting Design

Above: “The Government Inspector”- 2015Set Design

Left: “Blood Wedding”- 2016Lighting Design and Set Design

Full Theatre Credits

University Interscholastic League (UIL) One Act Play - 2013 (Sound Technician in “The Women of Troy”, Advanced to Area),- 2014 (Actress in “John Lennon and Me”, Advanced to Region)- 2015 (Stage Manager, Lighting and Projection Design in “Anatomy of Gray”, Advanced to State)- 2016 (Stage Manager, Lighting and Set Design in “Blood Wedding”, Advanced to Area)

UIL Individual All Star Cast Honorable Mention- 2014 (District, Region)UIL Individual All Star Cast- 2014 (Zone, Area)UIL Individual Tech Award- 2015 (Bi-District), 2016 (Bi-District)UIL State Theatrical Design - 2013 (State Final Qualifier), 2014 (5th in State), 2015 (3rd in State),

2016 (1st in State)Other Productions-2011 (Assistant Director in “The Jungle Book”)-2012 (Assistant Director in “The Pied Piper”)-2012 (Tech Crew in “The Red Velvet Cake War”)-2013 (Sound Technician in “Crimes in the Mad House”}-2013 (Sound Technician in “The Cabinet of Calagari”)-2014 (Technical Director in “Game of Tiaras”)-2015 (Stage Manager, Set Design in “The Government Inspector”)

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