OUR DESIGN
SET DESIGN
Our set design is one that keeps the play character focused, and is free of obstacles, allowing full movement on the "playing space." The playing space will be a 24 X 16 foot space in which all of the scenes interweave and come alive.
Open formed walls filled individual sheet music within its frame work will provide the masking for entrances and exits.
18th-century German architecture, was an imitation of the French Rococo and Italian Baroque styles. Germany’s superior woodworking and stucco-work added traditions to refashion the style. Both the playin space and outer proscenium with harbor this effect in its use of colors and patters.
The only furniture will be the use of two wooden chairs and a rustic style multipurpose table used as a table, desk, gurney, etc and spins and locks. These pieces will be moved in character transitionally by the actors throughout the show.
Finally, a projection screen in a floating frame of moderate size about to depict the variations and images throughout the play.
The piano will be permanently fixed upstage just off center, bleeding slightly onto the playing space.
​
*made with Google Sketchup
costume design
Our concept is to provide each costume plot as personal road map supporting that character. The play’s dual time periods of modern day and 1819-1823 existing concurrently calls for extensive historical research and accuracy. Due to playwrights use of short, vignetted “variations” instead of scenes, the costume plot for 33 Variations must possess a flowing nature that is minimalistic and reliant on base layers that transform easily with quick additions.
In the present day we start with Katherine. Poised, precise, professional, intelligent, determined, a bit rigid. Tailored. Solid jewel tones to underscore her strength, and as articulate in style as her 900-page thesis. As her ALS advances, clothing and hair style loosens and becomes easier to manage. Katherine must yield to the disease. Clara. Free spirit, colorful, bright, artistic, determined to be herself-free from her mother’s norms. Gertie. Professional, reserved, protective, practical. Proud of her German heritage and country. Browns, orange, teal, green to underscore her compassion and connection to her surroundings. Mike. Caring, compassionate, modest, and professional calling for blues and beiges, no bright colors and a contemporary casual style.
Traveling back to the 1800’s we will consider the time period as well as status and function. Beethoven. Confident, with an ego. Professional, upper class dress of the time in Frock Coat, Waistcoat, ruffled shirt, ribbon tie, stirrup pants with suspenders. Beethoven’s appearance becomes disheveled as his health diminishes. Schindler. Proper, protective, calculating. Professional assistant to an upper-class gentleman. Same dress as Beethoven but fewer changes indicative of his station. Diabelli is a man trying to better himself with hard work and connections, both financially and upward in class. Determined, calculating, colorful, stylish, developing ego. Same period dress, but modest, hand me downs showing wear – in the beginning. As Diabelli becomes more successful, his clothing becomes more opulent, in velvets, brocades and silks.
LIGHTING DESIGN
The lighting plot will consist of three basic "looks". The present day base, the "18th century" base, and the mix of the two. What will be unique to the "18th century base will be the "flickering effect" of the lighting, subtle but affective to create a scene by candlelight. To achieve this will require proper timing and positioning with an amber overlay effect. All three looks will be aided by distinct coloring on the cyclorama.
​
Also unique to this production will be the heavy use of high and low sides to create multi dimensional looks as we transition back and forth between time periods and emotional states.
​
Periodic use of intels to back light the actors in transition and a pin-spotted back lit piano throughout will create a strong addition to this plot.
SOUND DESIGN
All sound effects, including the flight attendant will be prerecorded and mixed for a smooth and timely delivery.
​
Actors will be individually mic'd and balanced throughout the performance. That balance will be enhanced with a slight amount of reverb for the characters in the 18th century. The exception to this will be the "Septet Scene" to ensure a clear and crisp delivery during the cacophony and the scene "Limbo" between Katherine and Beethoven when they present in real time together.
We will need to use a live microphone for the grand piano that involves positioning a pair of small-diaphragm omnidirectional mics directly over the strings, just past the hammers. This will give it the most naturalistic and robust sound.
​
I'm a paragraph. Click here to add your own text and edit me. It's easy.