Theatre Design & Technology - Fall 2011 - 54
photo by paul kolnik
"Joey's Night" scene on the elevated stage.
Another important scenic element is the upstage screen, suspended
in the air, which wraps around the stage. The screen looks like a torn strip
of paper and, in fact, represents the strip of paper torn out of Major Nicholls' sketchbook by Albert as he rushes off to enlist so he can follow Joey
in the war. Throughout the show, images are projected upon it and help
establish the setting or mood. Sometimes these images move in conjunction with the revolving stage, producing the effect of realistic movement
across distance at speed by the horse/s onstage. This is a similar effect as
that produced by stage machinery developed and used for the production of
hippodramas featuring horses in the late nineteenth and early twentieth centuries.2 In creating the effect here, Rae Smith's images emanate from three
projectors that are set around the auditorium, just above the exit doors.
The elevating stage is used to great effect in "Joey's Night," the pivotal
scene in which Joey becomes ensnared in barbed wire and is subsequently trapped in no-man's land, between British and German troops. Here
two hydraulic lifts under the stage operate simultaneously to bring up the
round section of the forestage. It rises about six feet above stage level and,
as it does, reveals curving sides covered with a nightmare of melted and
charred soldiers ensnared in a mass of netting and scraps of blackened
camouflage material.
52
theatre design
& technology
f
a
l
l
2011
Technology in Support of the Story
While all of the stage effects used in War Horse support the central story,
the most essential technical elements of the show are the puppets. The most
essential of the puppets are the horse puppets, and, of these, Joey is paramount. The effectiveness and magic of War Horse is found in the beauty of
its contradictions. The basic story is a love story between boy and horse.
Albert's quest to reunite with Joey is a truly heroic quest that takes both boy
and horse through a variety of exotic locations and dangerous situations.
There is true heartbreak, and there is sheer exhilarating joy. Without the
technical achievements of the creative and production team, none of this
would matter. It is thanks to the excellence of its puppets and related elements of stage design and technology that War Horse succeeds. v
Kimberly Poppiti is an associate professor and chair of
the Speech, Media Studies, Drama, and Dance Department at
Dowling College in Oakdale, NY. She is thankful to Amanda
Dekker, Paul Smithyman, Kyle Barrineau, Mom, Dad, Glenn,
and Esmé for their support and assistance. She has previously
contributed an article about stage machinery used in
hippodrama and a book review to TD&T.
Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2011
Contents
Theatre Design & Technology - Fall 2011 - 1
Theatre Design & Technology - Fall 2011 - 2
Theatre Design & Technology - Fall 2011 - 3
Theatre Design & Technology - Fall 2011 - Contents
Theatre Design & Technology - Fall 2011 - 5
Theatre Design & Technology - Fall 2011 - 6
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