The sets for Wolf Trap Opera Company's 2010 production of Benjamin Britten's
'A Midsummer Night's Dream' comes from the desk of Erhard Rom, a seasoned Barns designer.
The specific challenges we were presented with for this production included a steep compound raked deck with steel framing to allow light to pass under, a 10' radius moon box, circular tracked curtains, fibre optic stars, and glowing stage elements.
Taken all together his abstractly modern setting povided some interesting challenges for the crew as well as a gorgeous back-drop for the production.
The trapdoors upstage right, upstage center, and downstage left were a little more challenging than I would have expected; the challenge was in part due to the steep angle of the rake and the open framing designed for supporting the rake.
In the end they worked wonderfully to allow fairies to suprise the audience at the top of the show.
The entire stage left, upstage, and stage right walls were wired for fibre optics. Each individual point of light had to be set and glued into place during load-in.
The sets for Wolf Trap Opera Company's 2010 production of Benjamin Britten's 'A Midsummer Night's Dream' comes from the desk of Erhard Rom, a seasoned Barns designer.
The specific challenges we were presented with for this production included a steep compound raked deck with steel framing to allow light to pass under, a 10' radius moon box, circular tracked curtains, fibre optic stars, and glowing stage elements.
Taken all together his abstractly modern setting povided some interesting challenges for the crew as well as a gorgeous back-drop for the production.
The trapdoors upstage right, upstage center, and downstage left were a little more challenging than I would have expected; the challenge was in part due to the steep angle of the rake and the open framing designed for supporting the rake.
In the end they worked wonderfully to allow fairies to suprise the audience at the top of the show.
The entire stage left, upstage, and stage right walls were wired for fibre optics. Each individual point of light had to be set and glued into place during load-in.
