Creating the look and sound of 'The Island of Slaves'

Set
Though it features a simpler, more minimalist set than previous Seattle University shows, a lot has gone into the set design for The Island of Slaves.

Planned specifically for the Seattle U adaption by set designer and Fine Arts professor Carol Wolfe Clay, the stage consists of two pieces: one large square plane in the front for performance and a long rectangular segment behind it for actors to move quickly to and from backstage. Behind these stands a large backdrop of parchment-style decoupage.

With the entire set done in a blank, off-white color and simple shapes, Clay hopes to avoid the limitations and clichés of a simple island set. Instead, Clay explained, she wanted to offer the clean-slate of a utopian setting to compliment the play's theme of new beginnings.

"It's sort of like a blank canvas," Clay said.

The set also provides an exceptional medium for the play's vivid light show and the broad movements of the actors, allowing all aspects of the production to come together for a captivating and expressive performance.

Costume
Lush with the frills and detail of an Enlightenment-era aristocrat's wardrobe, the costumes for "The Island of Slaves" play a major role in carrying the issue of class and role-reversal in the musical, according to director Ki Gottberg.

Wardrobe is particularly visible for this production given the simple set design. Designed by Harmony Arnold, costume designer and professor, the period-specific designs maintain the look and feel of 18th century France for the contemporized show.

"[The play is] very costume heavy, in terms of having period costumes," said Casey Fern, senior theatre major and stage manager. "[Arnold] made costumes that are not only beautiful but that perform in themselves."

Even more astounding is the intricacy involved in the costumes, which had to be designed for quick changes on stage. As the aristocrats and slaves trade roles midway through the production, the actors needed to be able to remove layers of formal clothing while keeping time with a fast-paced musical number.

Design for the costumes started in August before the play was cast, and since then each outfit has gone through three fittings. But even after months of preparation, Arnold and her crew of student assistants will still be making changes after each performance to improve the appearance and coordination of the wardrobe, creating a newer and better design for every show.

Tech
The technical side of "The Island of Slaves" may happen behind the scenes, but extensive light and sound work plays a major role in bringing the production together.

The light show's bright colors and eye catching design and loud, almost head-banging electric guitar sets keep the audience hooked, and the original score will make viewers almost want to get up and move with the actors onstage.

"It's certainly not a quiet show," said Casey Fern, senior theater major and stage manager.

But the biggest part of the technical design, says adjunct professor and resident lights designer Ben Zamora, is simply accenting the performance.

"We're trying to let the actors be seen, let the location be set," Zamora said. "The songs are where we can really open up the emotional arc of the character."

Seamus may be reached at smckeon@su-spectator.com.