ILSE HERNANDEZ

HAJRA MOINUDDIN

SANIA HADIMOHD

JAIRO GUEVARA

SET DESIGN

HAJRA MOINUDDIN

Theater Style: Proscenium

First Act: On the Balcony

Stage

Outside Garden

Table and chairs

Fence surrounding the balcony

Ocean

Statues

Plants/Trees

Second Act: In the Kitchen

Stage

Table

Woven Basket

Plate of tomatoes

Main Door

Door to the balconyDoor to other rooms

Third Act: The Wedding Hall

Stage

Wedding Banquet

CurtainsIce Sculpture

Table for gifts

Roses/Flowers

Door

Hallway

COSTUME DESIGN

ILSE HERNANDEZ

• Type of style: For the play Big Love, I was inspired to incorporate European style into the costumes. For the reason that most of the characters are either Italians or Grecians. •Season: Mid- Summer •Location: At an Italian villa. •Style for the female characters: Glamorous and sophisticated.

-Lydia: Lydia is presented since the beginning of the play wearing a white wedding dress that is filthy and a bit shredded. She is also carrying a wedding bouquet.

-Olympia is known to be very smart, sophisticated, and feminine. This is the reason why I decided to have a short lace wedding dress for her. The lace adds the sophistication and a touch of Italian style. At the beginning of the play, it states that she’s just wearing one high heel since the other one broke. •Style for the male characters: Italian fashion, masculine and well- dressed (suits)

Accessories, hair and makeup

LIGHTING

JAIRO GUEVARA

Setting

The play is set outdoors on a midsummer evening

Assume all lights are of a warm-yellow tone unless stated otherwise◦This lighting is to be referred to when it says ‘regular’ or ‘normal’ lighting

ScenesThe play begins with a spotlight on the bathtub and Lydia entering

◦ Not too bright for it is the evening with the sun beginning to set and not too focused on the tub so the rest of the scenery is visible

The spotlight fades into a broader range lighting as Giuliano steps onto the stage

◦ This isn’t the same light expanding but a separate light with broader range illuminating the area where Giuliano will be as they converse

Giuliano exits the stage and the light dims back down to the spotlight

◦ This is a white (no color) and more focused spotlight to draw on the emotions of Lydia weeping

The light then fades away

The Setting of the

Bathtub on the

rooftop.

Lighting extrasThe lighting is now cast upon ¾ of the stage as Olympia and Thyona enter

◦ A separate light is cast on Thyona to give her lighting a red undertone as she throws plates around and fades away when she begins to sing with her sisters

The full stage is now of equal lighting and Bella enters: they converse

The lighting keeps true when Piero and Giuliano enter and when Giuliano and Bella exit: they converse

Piero exits and the light dims down, still covering the majority of the stage but not as bright as before

Lighting Cont’dThe women converse

A spotlight slowly begins to appear as the conversation proceeds

◦ Not a full spotlight but simply a light dimming of their surroundings

A red undertone begins to show as Thyona’s rant about men goes on

A white light begins to shine from above while Lydia speaks, as if it were a spotlight

◦ Begins dimly but brightens quickly and outshines other lighting; it is a helicopter light

The helicopter light is turned off and Nikos, Constantine, and Oed enter

Helicopter seen in the distance on

the screen.

Lighting cont’dThe men and women converse and soft purple and red tones appear

◦ The red for Constantine and Thyona’s angry argument and the softer purple for the calmer Nikos and Lydia

◦ Light comes from the back enough to make a presence on stage

◦ The lights from the front are a dim white, enough to keep the actors from looking too purple or red

Piero enters and the purple and red tones begin to subside into softer lights as the men exit

Lighting cont’dThe light purple and red undertones are still there as the women begin to converse and then become more potent as the they throw themselves to the ground, ranting in rage

Lights then ease back to the regular (warm yellow) color as the women stop and Giuliano and Bella enter with wedding gifts

Lighting is now illuminating the whole set as they converse and Leo and Eleanor enter the stage and conversation

◦ The lighting dims for a moment with a soft spotlight as Lydia and Leo dance and then returns to normal

Lighting cont’dThe normal lighting is set as Giuliano begins to speak of love

Nikos enters and Thyona, Olympia, Leo and Eleanor exit; Nikos and Lydia are now alone to have a private conversation

◦ There is now a spotlight cast upon them in white (no color) light

Lydia exits and the spotlight is now of a blue hue

◦ Constantine and Oed enter and the three of them fuss and rant in despair

The spotlight broadens and goes from blue to a crimson of rage

The red slowly settles to normal as Constantine’s speech ends and the three of them exit

Example of an

impact moment.

Lighting cont’dThe lighting remains normal color to show the full scenery as Eleanor and Olympia enter with the cake

◦ Piero enters and discusses the events discussed and marriage proceedings with the women; he then exits

The lights now focus only on the area where the women are

◦ Surrounding are dimmed but not to be confused with a spotlight

The lighting slowly eases into a soft crimson as Thyona tells the girls of her murder plans

◦ Enough to make the stage red but not make the actors’ skin look red

The plan is agreed to and the all lights fade off as the scene ends

Lighting Cont’d

The lighting now comes from a chandelier for they are indoors◦It is brighter than before and no longer a warm yellow but there is a tiny hint of blue undertones from the gloominess

All brides are getting prepared for the wedding but it is Lydia, Olympia, Thyona, and Eleanor who receive the focus of lighting as they converse

They finish getting ready and all lights fade off

Reception Hall Lighting comes from Chandeliers

Lighting Cont’dThe wedding ceremony is now taking place

◦ They are still indoors but this room is bigger than the last, there is one big centerpiece chandelier which lights this room

The brides and grooms are now married and the couples begin to act in irrational manners

◦ There are many lights flickering all throughout the stage in red, purple, orange, and green to match the chaos going on; the focus is on Thyona and Constantine

Thyona then stabs him and all lights flicker off quickly and return in red from the back part of the stage

◦ A dark crimson light flickers from the front of stage while the other brides also kill their grooms

Lighting Cont’dThe intensity of the red and crimson lowers and is mixed with some white light to allow for Piero, Giuliano, and Bella to speak

A white spotlight is then cast on Lydia and Nikos dancing

◦ The surrounding light still has red tones

Dim spotlights are cast on Olympia, Thyona, and Bella as the trial goes on

◦ The red tones fade away as Bella speaks of love and gives her verdict

The lighting is once again bright as there is happiness for Lydia and Nikos

The light then fades to a spotlight on them and then fades off

Different color lights then flicker to portray fireworks to end the play

DIRECTION

SANIA HADIMOHD

Script & Casting•The script will be taken from the original document that we read.

•A few changes such as adding specific lines to the chaos, and adding more lines during the wedding killing scene will be implemented.

•The script will be in modern English, and have comments that will guide the actors to their particular accent/way of speaking.

•Bella will speak with a heavy Italian accent, have many Italian traits such as s built, and a very young look, considering her age.

•The actors casted are shown throughout the presentation. They have been picked based on their previous acting experience and the potential that we see in them to give justice to the characters in the play.

CastingAmanda Seyfreid

ThyonaRachel McAdams

LydiaBlake Lively

Olympia

Casting

Meryl Streep, Bella Chloe Kardashian, Elanor

Casting

Ryan Gosling, Nikos Bradley Cooper, Constantine

Zach Efron, Oed

Directorial ConceptA Heretical approach

The directorial concept that I will use

will be the Heretical Approach which is

interpreting the already existing script

in order to make a theatrical entity of

the entire production for the audience.

Casting

George Clooney, Pierro Tom Cruise, Guiliano Nicolas Cage, Leo

Themes/Spine

•The major themes within the play center around the concept of love and humanity.

• The play will reflect this as the actors will emphasize the scenes in which the theme of love conquering all, and humanity being an attribute are shown.

•The Spine of the play will be the significance of finding true love, regardless of the social norms that we live under. The play signifies the importance of societal pressure and the effect it can have on human nature.

•For Example, Nikos & Lydia have no love at the beginning of the play when she runs from home due to societal pressure, however, after meeting Nikos and seeing his love, she falls in love with him too. The rest, kill their husbands. This in itself is a paradox of human nature. Our ability to jump to conclusions and our need to defy social norms. That is the spine of the play that will be evident throughout the performance. A need for rebellion.

Directorial Style Creative Artist Approach

•The style of direction I will use is the creative artist approach, however with a little bit of an emphasis on myself as the final decision maker. Actors may not always see the performance as a whole when compared to the way that a director sees it.

•In the approach, I will see myself as a creative artist working with the ‘materials’ which include, but are not limited to, the actors, designers and production team. The “creative artist” director wants input from the actors but, has final say over what is included and how ideas are incorporated.

•Another way to incorporate this style will be to coach actors in so that they may perform their role to the best of their abiliites.

•I would also hear input from every department and every person, because I believe that there is always room for improvement.

THE END