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Christopher Oram is the Designer for The Tempest. He has
the job of creating designs and technical drawings for the set,
costume and props. Most of the photographs included in this section
are taken from the production model box. The design model box is
always made in a ratio of 1:25. It is an extremely effective way
for the whole production team to understand the set prior to rehearsals
and to be able to plan the most effective ways of working with it
in production.
"We
need to create an island with a number of environments as well as
a tempest on board a ship."

Christopher Oram, the designer, has come up with a design featuring
a crumbling proscenium arch and a wooden stage with a sunken floor
that extends right out onto the thrust of the Crucible Stage.
Prospero
lives in what Shakespeare calls his 'cell' and in this production
his cell is a stage, giving us a fantastic opportunity to extend
the metaphor that runs through the play for theatrical magic, a
magician in charge of a stage - a Stage Manager. Shakespeare describes
Caliban as living in a cave. In this production he will live in
a cave under the stage or theatre.
For scene one, the floor of the stage becomes the deck of the ship.
There is a hatch centre stage, a rope ladder and a very large sail.
We will make a large silk cloth billow to create the effect of a
sail.

We have our normal entrances on the Crucible stage - 2 vomitorium
entrances (these lead under the stage) and entrances upstage left
and upstage right of the proscenium arch. No action will take place
upstage of these entrances. This is important for the sight lines
of the audience sitting to the sides of the stage. There is a pair
of tabs (curtains) which draw in from either side when Prospero
wants to create a special theatrical event such as the masque to
celebrate Miranda and Ferdinand's marriage.
In
addition to the set design, Christopher also has to create the design
for all the props used in the production. Like the set, major props
are modelled in a ratio of 1:25. As all the pieces of the model
are well used by carpenters, scenic artists, prop makers and stage
managers during the production period they are usually kept safely
in a special box.
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