Pippin
Directed by Elise Marinkovich
Francis Parker School
Fall 2017
Pippin was in some ways a very simply designed set. Composed largely of 6 wheeled, ledged, walls, as well as a few wheeled platforms to mount other pieces on, the set design itself was very quick to build. That was fortunate, as the actors needed those pieces to be ready from the beginning, in order to fully incorporate them into every scene.
Of course, our first priority was the new stage, as we transitioned from a proscenium set-up into a thrust set up. However, once that was done, the walls were rapidly built next. What was less simple on Pippin was the color.
The director and I agreed that we wanted the colors in this show to be highly symbolic, doing research into that before the design process began. Thus, the painting and lighting of this show was highly complex.
Francis Parker School
Fall 2017
Pippin was in some ways a very simply designed set. Composed largely of 6 wheeled, ledged, walls, as well as a few wheeled platforms to mount other pieces on, the set design itself was very quick to build. That was fortunate, as the actors needed those pieces to be ready from the beginning, in order to fully incorporate them into every scene.
Of course, our first priority was the new stage, as we transitioned from a proscenium set-up into a thrust set up. However, once that was done, the walls were rapidly built next. What was less simple on Pippin was the color.
The director and I agreed that we wanted the colors in this show to be highly symbolic, doing research into that before the design process began. Thus, the painting and lighting of this show was highly complex.
Scenic Design
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Progress Shots: Floor
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Progress Shots: Walls
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Lighting Design
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Gobos
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Submasters
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Final Look
