Designing Romeo and Juliet

TRACY LORD DISCUSSES THE PROCESS OF DESIGNING THE BALLET.

Design Notes (Original Programme 2003)

“Design work for Romeo and Juliet began in early 2002. On first meeting Christopher Hampson and I discovered that we had a common understanding of the work and a vision for this new production. It is a pleasure to have had Prokofiev’s beautiful score at the heart of the design process. The movement, command and delicacy of the music describe the world of this ballet so very clearly. The design seeks to serve the intentions of the composer by capturing the grandeur and scale of power and dynasty, and classical elegance of an Italianate Shakespearian world, while holding within the energy and determination of young and fragile first love. The landscape of this world is rendered monochromatically to intensify specific colour that I have used particularly in costume: strong passionate reds; naïve, soft greys; sophisticated steel greys; and deep blues, golds and burgundies for the splendour. The architectural world is tiled, again in juxtaposition to decorative finishes in costume: feathers, sequins, diamantes, tulle and crystals. This controlled design palette and textural range will create a production that allows for both moments of focused intimacy and heightened dramatic sculptural procession.”

Extracts from first considerations via discussion and e-mails between Chris, Gary Harris, John Rayment and myself:-

The original concept from Chris Hampson as told to me by Gary Harris (early 2002):
‘.. – rubic cube/ origami/ opens/ unfolds (no traditional flying elements)/ timeless…’

From TG to CH after discussions with John Rayment (Lighting Designer) in Sydney (25.01.02)
‘… travelling down the path of some reasonably sized structure onstage – it may unfold as if it were concertinaed (?) into a wall, or a series of screens that pivot around one point. With portals both large and small for dancers and light to move in and out, back and forth. Some structure may carry lamps, moving the light as it moves. Scene changes seamless within the work….. …I also wondered whether our ball/ party should have a period sense to it, as if it were a costume event. This allows some acknowledgement of the renaissance and explains the formality of the dance and the swordplay in that Act.’

From CH to TG (25.01.02)
‘… Love the idea of seamless scene changes, the lighting incorporated with the set and the ability to divide the stage into intimate spaces and larger areas.
You mention the ball having a “period” feel to it. I think that sounds perfect. I always see music for the Ballroom quite macabre, sort of “Big Renaissance Ball” meets bits of “Eyes Wide Shut”, which also enables Mercutio to really ridicule the environment he’s in…. I had an idea of the Market/ Street scenes having levels to them. It would help to make the fight scenes exciting. People jumping off higher levels, running through parts of the set etc… Is it possible?’

By storyboarding the movement and locations of each scene, and maintaining seamlessness within the progression through the locations, there was a clear design development process resulting in the basic structure that would eventually become the set design for this Romeo and Juliet.

I created a storyboard by building and photographing a white model for Chris to see and use as the springboard for his production (see below). He travelled to NZ during 2002 and we spent many days working together refining the design and consequently the production. This, in turn, lead to final decisions being made on costumes and the decorative style for the ballet. It was during these days that the characters became increasingly established, and choices of period influence made.

Focus Questions

• Look at the film clips showing Romeo and Juliet in performance.
• What impact do the sets and costumes have on the ballet?
• How does the choreographer use the set during the ballet? How does it become part of the action?
• How would you describe the style of the costuming in the different scenes? How does the costuming reinforce the idea of CONTRASTS in Romeo and Juliet?
• What is the significance of the use of colour in both the set and the costumes?
• How does the stage lighting enhance the emotion and action on stage? Give specific examples.