Theatre Design & Technology - Spring 2008 - 29

Figure 1. Twelve Angry Men,
Repertory Theatre of St. Louis,
2008. Director, Martin Platt;
Scenic Design, Judy Gailen;
Costume Design, Claudia
Stephens; Lighting Design, Dan
Koltowitz.
photo, judy gailen

Figure 2. Costume sketch for
Juror Figure 5, Twelve Angry
Men. Costume Design, Claudia
Stephens. Repertory Theatre of
St. Louis, 2008.

reactions and discoveries that develop over the time it takes to
debate a verdict. One of the keys to understanding a theatrical
performance is how humans fit into their poetic space. Are they
small inside a large space? Are the humans too big for their
cramped quarters? We derive instinctive information from this
proportional information, as we draw on our life experience.
Director Martin Platt, discussing some of the creative
process for this production points out, "We were in a hyperrealistic set and hyper-real costumes. This was not a directorial
choice or designer choice, but was the only approach that theater was interested in." However, as he watched the actors face
each other around a jury table, not the audience, he had an inspiration for a possible future interpretation. "As I watched the
play in tech, I realized what we want to do is watch the jurors all
the time. I would love to have a long wall with very little detail
and 12 chairs against it. The jurors could act just as they did in
the realistic environment, relating to each other, but we as an
audience would have a full face-on view of every actor for the
whole show. Now that would have been interesting!"
Judy Gailen, the set designer, anchored her decisions in
the intent of the script: to focus on the intensity within the small
deliberation room. "Because the focus of the play is, in fact, the
text, we decided to keep the period and the room true to the
original script. I think it would be hard to layer a lot of concept
on this play, because of the danger of commenting on it. At one
point we played with the idea of seeing the outside buildings
above the room, but it proved a distraction from the intensity
of the room, and really didn't add anything to our understanding of the piece." She built up the show deck with a recessed
support to "float" it, and she narrowed the space to crowd the
characters around their table. The relationship of the charac-

28

theatre

design

&

technology

S P R I N G

2008

ters to their environment enhanced the intensity and pressure
of the situation.
To enhance the intensity, all of the design areas used
warm color inside the room, while the outside was very cool
and detached. "The change of the light in the room and outside
was, I think, the most important part of creating the tension
of the space." Judy added, speaking of lighting designer Dan
Kotlowitz's part of the overall effect. Costume designer Claudia
Stephens delved extensively into character distinctions and how
those traits translated to costumes. Just as each character in the
script reveals himself through indirect dialogue. "How to make
them individuals and not cookie cutters of 1950s fashion plates



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2008

Contents
Theatre Design & Technology - Spring 2008 - 1
Theatre Design & Technology - Spring 2008 - 2
Theatre Design & Technology - Spring 2008 - 3
Theatre Design & Technology - Spring 2008 - Contents
Theatre Design & Technology - Spring 2008 - 5
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