Set Design and Props

Shawger said research is a huge part of these roles. During the 2017 production of “Shrek: The Musical,” for example, he knew the director wanted a more realistic approach to the set. So, Shawger researched swamps.

That research led him to sketches which evolved into drawings he then presented to the director of the show. Once the director approved the designs, Shawger made computer renderings and then mini 3D models of the designs. He gave these models to the set shop to build the sets. Sometimes, he would have to revise the designs based on what the set shop could do. The whole process took months, but more involved shows start this process the semester before the first performance.

At roughly the same time, a team of students at Ball State gathers items needed for the show.

Some props are purchased or rented, while others are cobbled together from the theatre and dance storage unit or through thrifting and crafting. The set shop often helps with creating props, such as trees from wood or Styrofoam and lacquer thinner or stuffed animals from felt and fake eyelashes.

Costumes

Ball State costume shop director Alexander Stearns said costuming follows principles and elements of design like balance, color, proportion and texture. The design principles are an intentional choice. When selecting costumes for dancers, the costume must show off the body and movement, Stearns said.

Kathryn Rowe is an associate professor of theatre and dance and the department’s costume designer. She said she tries to “get to know” a show before the design process. Then, she will work with the director of the show, as well as other creatives involved in the show, to ensure everyone is on the same page.

“I have to try to find out who the character is by capturing images I think might capture the character,” Rowe said. “That is really kind of where the meat, the heart of it is.”

Rowe’s research comes from looking at photos of the time period, as well as elements of the character.

Robert Dirden is an associate professor of theatre who teaches classes about hair and makeup design.

A designer of hair and makeup for a show attends creative direction meetings before a show is cast, then they will visit a few rehearsals and attend tech week and dress rehearsals, where the actors wear their full costumes. Tech week and dress rehearsals are the final weeks of rehearsals before a show opens.

Makeup and hair work hand and hand with costuming in establishing the essence of a character, Dirden said.

When thinking about designing a show, Dirden said he considers the “5 Ws: who, what, when, where, why.” The answers to these questions are found through a lot of research of time, place, the character and the theme of the play. Understanding the 5 W’s helps ensure a show’s cohesion, he added.

Contact Olivia Ground with comments at olivia.ground@bsu.edu or on Twitter @liv_ground_25