Theatre Design & Technology - Fall 2011 - 53

detailed for the characters they portray. They are undifferentiated as
individual characters; as such, they have greatly reduced need and capacity for expression in comparison to the individualized characters,
Joey and Topthorn.
Heine and Coco are two emaciated horses that pull in harness for
the Germans. The stage directions describe them as "Two knackered
horses (Stafford 2007)." They are ghostly pale, with large bony heads,
ragged with floppy necks, skeletal frames, and an overall air of misery.
The two are similar in appearance, but not identical. Coco, for instance,
has a wooden leg. The effect of seeing Coco and Heine is a sort of bleak
premonition of what might happen to Topthorn and Joey should they
stay alive in the war long enough. Coco and Heine are manipulated by
two puppeteers each, both of whom work harnessed inside the puppet.
There is a simplified head mechanism.
Of all the equine characters in War Horse, the two most developed
are Joey and Topthorn. Because these two puppets work the most and
have the most complex design, an extra head and an extra set of legs
(both fore and hind) for both horses are kept on hand to swap out during
any repairs that become necessary.

oped a special fog track in the floor. Three sections of inlaid pipe, each
about twenty feet long, and with nail sized holes in the tops, lie flush
with the stage floor and emit fog effects on cue. This is accomplished by
a mechanism built under and through the stage floor. Tubing connects
multiple smoke machines (located under the stage) to each of the three
stage level perforated pipes. When first tested, these produced a beautiful fog effect, along with an undesired musical whistle. The whistle was
eliminated with the addition of gaff tape at the point of vibration.
Lincoln Center's Vivian Beaumont Theater stage is larger than the
other venues at which War Horse has been produced, and the scenery
has been expanded for this production. Scenic and costume designer
Rae Smith has created a large, dark, curving stage landscape, dubbed
the "Nashscape." It is crafted in the "abstracted figurative style" of Paul
Nash and other Vorticists, visual artists who worked between 1914 and
1918 by "combining machine-age forms and the energetic imagery suggested by a vortex (Vorticists 2011)."
This bleak landscape remains unseen for much of the show until
it rolls in from upstage to serve as a bleak and tangled backdrop of
despair for certain war scenes.
Another interesting aspect of the set design is a stage that both
elevates and revolves, although not simultaneously. The revolving effect
is used in numerous scenes and more than once in conjunction with
slow motion action or tableaux by the actors, signifying a life changing
moment or a pivotal point in the story.

n addition to the puppets, there are numerous other spectacular effects at work in War Horse. Smoke and fog effects
are used throughout the show. Lighting designer Paule Constable devel-

Fog ports in the stage.

Fog machines and ducting underneath the stage.
Closeup of barbed wire and steel in the "Nashscape."

f

a

l

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2011

theatre design

& technology

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Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2011

Contents
Theatre Design & Technology - Fall 2011 - 1
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Theatre Design & Technology - Fall 2011 - Contents
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1969May
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https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1968Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1967Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
https://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
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