Summary of Following Work The following documents are edits of articles that went on Insight’s web publication. The goal was to have several concise, fun behind-the-scenes looks into the making of The Phantom of the Opera. I worked with the author to tighten the prose and integrate quotes better. The final versions can be found at insight.byu.edu.
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Deep in the vaults of the Harris Fine Arts Center, the humming of sewing
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machines and the snipping of scissors disturbs the air. Costume designers, seamstresses,
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and the costume shop manager work together to create the opera clothes, boned bodices,
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and gold and silver ballet dresses necessary to clothe the actors in The Phantom of the
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Opera. Insight brings you an inside look through the eyes of designers Professor Rory
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Scanlon and Deanne Dewitt, and costume shop manager Donnette D. Perkins.
Chelsea Adams 11/11/12 7:25 PM Deleted: Insight brings you an inside look ... [1] through the eyes of11/11/12 two of the8:22 designers, Chelsea Adams PM Professor Rory Scanlon, former dean of the Comment: Make your quotes ... [2] Honors program, andsure Deanne Dewitt,are costume meaty, they really carry the story forward. Chelsea Adams 11/11/12 7:40 PM designerthat and assistant costume shop manager Iascompletely deleted these quotes,Donnette because well as the shoptwo manager, Deleted: hascostume I felt like they could just as easily be D. Perkins. Chelsea Adams 11/11/12 7:44 PMthings paraphrased to save space and move forward. Examine your other quotes. Are they Deleted: “to know how to help When asked what his favorite partanofaudience costume ... [3] moving forward? member relate to a11/11/12 character and other design is,things Professor Scanlon 7:48 said, “I really love Chelsea Adams PM characters relate getting intothey the shouldn’t characters.” As ato.” designer, he Deleted: This black tuxedo and cape of... the[4] Phantom Chelsea Adams 11/11/12 8:22 PM Comment: You should just paraphrase... this. [5] The quotations coming out of8:22 nowhere Chelsea Adams 11/11/12 PM are a bit confusing for the article. If you do use the Comment: Donnette saying this? If ... so,like [6] quote, use it inIsit’s entirety. Say something you to let readers knowPerkins, that she’s Chelsea Adams 7:53 PMthesaying this: need According to 11/11/12 Donnette it. A good general is this: if you are using phantom’s . . . willrule Deleted: notinbeit’s theentirety, only oneand... [7] a quote, useHe the quote airbourne– Chelsea 7:54 PM attribute itAdams either at11/11/12 the beginning, the end, or
Since early summer, three teams of professors and students have set up camp, covering the walls with pictures, the tables with material. They have created over three hundred costumes. Professor Scanlon’s goal is to use costumes to help the audience relate to characters that they might not relate to otherwise. For example, the Phantom wears black, contrasting with the white mask, showing both his conflicted character. The Phantom’s black tuxedo and cape are actually “the easiest costumes in the show” according to Donnette Perkins. In the Masquerade scene, they are “using kitebuilding material to make his wings” to create the Death costume, “so they’re lightweight because he’s being flown in.” Perkins was loathe to spoil the play, but she says, “There’s going to be aerial tricks, stilt walking, and all kinds of things to make it really spectacular.” Joking that her work will be over “in five minutes”, Deanne Dewitt, the designer for this Masquerade, chats about glitzy dresses, posture-correcting boned bodices, and
the first natural break. If you have questions Deleted: “without spoiling too much– about this, you can either email me or we can Chelsea 7:54best PMget the meet up toAdams discuss11/11/12 how you can Deleted: t quotes in there. I think it would be cool to have this quote,Adams but it needs to be put differently. Chelsea 11/11/12 7:54inPM Deleted: ” adds Perkins
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you couldn’t buy anywhere,” Perkins explains. “So we had to devise a way of making our
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own. They’re about two feet long and very intricate.”
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borrowing costumes from the Utah Shakespeare Festival. Raoul’s costume was one of the most complicated pieces for this segment. “These are very specific military appliqués that
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In this play, flying is not the only magic. While Christine sings in the first act, the scene shifts from rehearsal to opera hall, changing her from chorus girl to opera Prima Donna. Again, in El Muto, one of the mini-Operas, Christine takes Carlotta’s place and literally “steps into her costume– this huge ponye dress and white wig.” Even though they are very different sizes the “whole costume has to mechanically work and clamp around them to make it work. So we cover up the back so you don’t see the difference.” “We as costume designers work more intimately with the actors than the director because we work with their bodies– their insecurities,” says Scanlon. “But we’re not costuming the actors as much as we’re costuming the character.”
Chelsea Adams 11/11/12 8:22 PM Comment: Choppy transition. The easiest fix would be to completely get rid of the paragraph about Raoul. I would advise that. Then you can add a bit more on the tricks that the costumes have to accommodate for. Chelsea Adams 11/11/12 8:17 PM Deleted: and “everybody gathers around her very quickly” Chelsea Adams 11/11/12 8:17 PM Deleted: , “in full costume”, shares Professor Scanlon Chelsea Adams 11/11/12 8:22 PM Comment: Another quote problem. Please be sure to let me know if you need more help with how to do quotes in an article like this. Chelsea Adams 11/11/12 8:22 PM Comment: Who is saying this? Attribution. And I’d make this all one quote with the speaker attribution in the middle. Chelsea Adams 11/11/12 8:18 PM Deleted: .
This coming January, we will get the opportunity to see these characters and their costumes. See you there!
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You’ve got about sixty more words to work with now. That means you can use full quotes instead of partial. Full is generally always better for news/journalism. I would like you to make the necessary changes to this article by Tuesday afternoon so I could edit it one more time and pass it on to the Web team. Thanks for all your hard work!
Chelsea Adams 11/11/12 8:22 PM Comment: I like this quote. Can you assimilate it into the story better? Chelsea Adams 11/11/12 8:22 PM Comment: Were there going to be more segments/previews of this show before it opens? I was under the impression that we were doing several previews.
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Insight brings you an inside look through the eyes of two of the designers, Professor Rory Scanlon, former dean of the Honors program, and Deanne Dewitt, costume designer and assistant costume shop manager as well as the costume shop manager, Donnette D. Perkins.
When asked what his favorite part of costume design is, Professor Scanlon said, “I really love getting into the characters.” As a designer, he Page 1: [2] Comment
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“to know how to help an audience member relate to a character and other characters they shouldn’t relate to.” Page 1: [4] Deleted
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This black tuxedo and cape of the Phantom Page 1: [5] Comment
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Creating the world of the Phantom of the Opera Last week, Insight gave you a peek into the making of the costumes for the BYU production of Phantom of the Opera. This week, you’ll get a glimpse at the set design through the eyes of stage designer, Benjamin Sanders. This production uses numerous scenes and locations, creating a huge demand on the set designer. With all the unique aspects to designing this intense of a production Sanders says, “Our biggest limitation here is budgetary. Phantom of the Opera on Broadway costs millions of dollars. We don’t have anywhere near that. Within the time constraints and the budgetary constraints we have to take that reality and make something that is suggestive of the location.” But the budget isn’t their only problem. The theater limits what they can do as well. The De Jong theatre is small, and doesn’t lend itself to extravagant productions. “With lots of limitationsno trapdoors, and structural limitations to be able to fly things, how do you create all the locations and make all the effects happen?” Sanders says. Through skillful design and out of the box thinking, they have designed something magical. Sanders designed one big set where most scenes can happen. A great deal of his vision came from the Twenty-Fifth Anniversary Royal Albert Hall version of the play. “They have these stairs,” he explains. “Now the stairs are an iconic part of the Masquerade as you open up the second act. In this production, they’re there the whole time and that allows a lot of action up and down, different layers of things.” Many of the theater’s restrictions disappear with this simple but elegant design. In the center of the stage, three video screens will be used to change location and to give back-story. Sanders explains that “the director’s concept for the movies is the old flicker book type of film.” The flickering effect gives an old-timey feel to the production. The screens themselves allow for some fun and creepy effects. “In the scene where Christine is in the dressing room and the Phantom appears in her mirror, we can project onto this fabric and you can see the phantom on the other side of the fabric cause,” Sanders says. “Then he’ll just have her walk right through.” They will also be using these screens to show the journey from the theater to the Phantom’s lair. Sanders shares, “The boat will come to the camera and pass through, and at that point, the boat is going to come through the curtains from the video projection onto the stage.” The boat will look like it came out of film and onto the stage. Great draft! I love the story you’re telling. You don’t need to add, just fix a few things. Send me your next draft of this ASAP so we can get one more edit done (that’s all I think it’ll need, if that) and then send it off to Cheri and to be fact checked.
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Chelsea Adams 11/20/12 10:57 AM Deleted: .… Creepy right? ... [14] Chelsea Adams 11/20/12 10:59 AM Comment: Theater is the American spelling. ... [15] Unless directed otherwise, Chelsea Adams 11/20/12I would 11:01 use AMthe American spelling. Comment: A general rule of thumb for ... [16] speaker attributions: put them10:58 in theAM middle of Chelsea Adams 11/20/12 the quote after the first natural break in the Deleted: re is no natural break, it's more quote. If there Chelsea 11/20/12 11:00 AM natural to Adams put the speaker attribution at the end than at the beginning. Forbethis put[17] Deleted: It’s going to onquote, videoI'd and atthe ... speaker attribution at the end. effect of the one point the …creating Chelsea Adams 11/20/12the 11:05 AM boat coming Comment: Create your conclusion ... [18] paragraphAdams off of heading to the Phantom's Chelsea 11/20/12 11:03 AM lair. Something like, “You can enter the Phantom’s Deleted: The boat itself is cleverly lair right along with Christine in January.... .[19] .“ designed, “we’ve taken parts ofnext aAMweek" Chelsea 10:35 etc. Don't Adams forget to11/20/12 do the "join us motorized wheelchair and they’ll actually part of the conclusion. You'll his have about sixty Deleted: Sanders shares favorite [20] drive itfor around on stage” and after it ...part words the conclusion. about set design, “Designing sets for me is comesfinding through curtain, will come about the the solution to a “it problem– taking downstage around and and park. this show andand all the elements allAnd the then it will turnand around becomes bed inour locations tryingand to make it worka within limitations, our stage, within the concept of Phantoms’ on lair.” the director.” Conquering challenges and creating something beautiful is all what this is about.
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brought Page 1: [1] Deleted
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Numerous scenes and locations are used in this production Page 1: [4] Comment
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With the biggest limitation being budgetary, Sanders shares their hardest challenge, “Our own theatre. Page 1: [6] Deleted
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he asks Page 1: [6] Deleted
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that will provide the magic of this production Page 1: [8] Deleted
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He explains, “We’re creating a unit set so that all the different things can happen in one location without a lot of changing in the scenery”. Page 1: [9] Deleted
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The boat itself is cleverly designed, “we’ve taken parts of a motorized wheelchair and they’ll actually drive it around on stage” and after it comes through the curtain, “it will come downstage and around and park. And then it will turn around and becomes a bed in Phantoms’ lair.” Page 1: [20] Deleted Chelsea Adams 11/20/12 10:35 AM Sanders shares his favorite part about set design, “Designing sets for me is about finding the solution to a problem– taking this show and all the elements and all the locations and trying to make it work within our limitations, on our stage, within the concept of the director.” Conquering challenges and creating something beautiful is all what this is about.
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