Theatre Design & Technology - Spring 2008 - 31

Figure 4. Mr. Toad, Wind in the
Willows. Linbury Studio, Royal Opera
House, 2006. Director, William Tuckett,
Costume Design, Nicky Gillibrand.
photos, richard termine

Figure 5. Weasels, Wind in the
Willows. Linbury Studio, Royal Opera
House, 2006. Director, William Tuckett;
Costume Design, Nicky Gillibrand.

glowing underwater effect. As the performers float above the
floor the fabric interacts with air and movement. The grand
scale triggers a powerful response, an aspect of human psychology evident in the effects of gothic cathedrals, grand opera
or landscape vistas.
Actors playing animals such as jellyfish is an ancient tradition in entertainment. The first question for designers of animal characters and environments is the balance of realism to
stylization. Outfitting an actor in a realistic animal suit is done
less often for stage than for film, which is a realism-based medium. Stage design usually incorporates a more stylistic representation, relying on anthropomorphism-attributing human
characteristics to the animals. The audience derives a certain
delight in equating human behavior to animals with related
characteristics, and fully encasing an actor in a realistic animal outfit detracts from this intent. A notable example of this
stylistic blend is The Wind in the Willows, a ballet version

theatre

design

technology

S P R I N G

2008

of Kenneth Grahame's beloved book performed in the Royal
Opera's Linbury Theater in 2006. (See figs. 4 and 5.)
Directed by William Tuckett, with costumes designed
by Nicky Gillibrand, the clothing and hair styles combined
to suggest the characteristics of each animal rather than
recreate species-specific markings. Two Weasels, dressed
in punk garb and hair styles perfectly illustrate their bad
behaviors. Frog is a gangly riot of plaid pants and striped
socks, with cock-eyed hair that looks permanently unbalanced. David Benedict in his Variety review noted with evident relief that the "excellent costumes imaginatively convey
the creatures without resorting to either fur suits or masks
(Benedict 2006)." The scenery is also refreshing; a dusty
attic that forms the narrator's imagination. Edwardian era
attic items and abandoned bits of furniture are oversized,
allowing the human actors to appear smaller, appropriately
scaled for small animals. Designed by the Quay Brothers,
the sepia toned scenic elements form a playground, with a
bolt of silk pressed into service as a river or a birdcage becomes jail. The transformative quality reminds the audience
of the magic of our own childhood imaginations when sofa
cushions made a very serviceable fortress.

designing for theatrical parameters
Traditional theater requires adapting the design to an existing
venue. In certain cases, it is possible to rebuild a theater interior to suit a specific show, but most of the time designs must
accommodate the limitation of the theater house itself. Bob Vukasovich, noting the difference he encountered designing for
theater and television found that stage "directors don't actually use as much depth as you might think. They must be more
concerned with the fixed sightlines, and staying within range
of the light or audience in that venue." Often, a playing area is
pushed as far downstage as possible, and variation or interest is
added through vertical levels. Another point of view, expressed

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