Theatre Design & Technology - Spring 2006 - 62

solution was to surround the stage with three gable-shaped
portals with simple natural-toned wood frames to enclose a
backdrop. Between the second and third portal, she suspended an elaborate white neoclassical gable suggesting antebellum architecture. The white gable was split at its apex and
hung on tracks in slightly different planes so it could move together and apart in different configurations to evoke different
locales.
"One of the metaphors that I was using, that Kenny and I
talked about," Kellogg said, "was the sense of patriarchal architecture. The buildings that this takes place in are all kind of
symbolic buildings-a plantation house, a courthouse, an
auction house. We wanted to stress that sense of confinement,
even though there is grace and scale." She was also wanted to
evoke Greek tragedy. This is not Porgy and Bess," she said,
"this is not sitting around Catfish Row. It is the Medea story,
and it wants scale. It wants a kind of classical symmetry."
Once the architecture gave Kellogg her structure, she hit
upon another powerful metaphor. The portals are covered
with enlarged patterns taken from slave quilts. She saw illustrations of them during a meeting with the costume designer,
Paul Tazewell. "It felt so right," she said, "it felt grounded, it
felt about women, it felt about the slave culture, it just felt
right. They're beautiful. They're an image of life, rather than
an image of death." The interplay of the white gable and the
earth-toned portals creates other reverberations. The neoclas-

sical gable's painted whiteness of course makes it own statement against the natural golden brown of the portal framework. The white gable looms, like a sword of Damocles, above
most of the scenes, including one in a slave cabin, both threatening and confining. But it also floats ethereally, while the portals are firmly anchored, "grounded," as Kellogg says. The
patriarchal, oppressive society, Kellogg seems to be saying, has
no foundation and cannot last.

The Realist Label
At the end of her talk in Louisville, Kellogg said that over the
years, she's been "alternately pleased and disheartened" by
the label of realist. "It's a peculiar label," she said with a
laugh, "for someone who in her other life writes science
fiction." She was referring to the seven novels she has published since 1986, possibly making her unique among
stage designers. In both her lives she is a storyteller. In her
novels she describes environments, characters, and behaviors with the same sharp eye for detail she applies to design. Both on stage and in her books, she imagines and
draws a world that will be real to the actors, audience, or
readers who come into it. ❖
Arnold Wengrow is a contributing editor of TD&T.

2cl-special Ad/option
2cl-special Ad/option

THEATRE
SPRING

2006

DESIGN

&

TECHNOLOGY

61



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2006

Contents
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Theatre Design & Technology - Spring 2006 - 2
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Theatre Design & Technology - Spring 2006 - Contents
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