Dealing With Designers

THE PLAYWRITING SEMINARS > BUSINESS > PRODUCTION > DESIGNERS

'There's nothing like encountering the problems of costume, lighting, set design -- What do you mean by this? Where is this? Where is the window? -- which make you more aware of the totality of what you're doing. I discovered with FENCES that I had a character exiting upstage and coming back immediately with a different costume. That's really sloppy but I was totally unaware. I never thought, 'The guy's got to change his costume'. I've become conscious of things like that and it's made me a better playwright.'

-- August Wilson

All good Designers will want your feedback on their initial conceptions. Rely on your Director to mediate these sessions. They speak a wondrous language of their own, so if you haven't spent your life in the theatre, you'll need an interpreter.

• Scenic Designers
  You've probably said everything you need to say to them on your Setting Page. They'll get nearly everything else they need from the rest of your play and through discussions with your Director. The more realistic you want the set to be, the less reason there is for you to look over the Scenic Designer's shoulder.

  But the more abstract and suggestive your scenic conception is, the more the designer will need and want a detailed collaboration with you.

• Lighting & Sound Designers
  These magicians tread in mystical realms. Until you're an old hand at this business, what they do will seem as logical as figuring out how many angels can fit on the head of a pin. The best Rule: answer any questions they have, stay out of their way, and assume that you'll be amazed by the results.

• Costume Designers
  Most of your time with Designers will be spent here. Costume Designers tend to want the most continuous collaboration with playwrights. You may end up working through a dozen versions of the "Look" for a central character before these folks think they're ready to deal with cloth.

  You won't need an interpreter here, but make sure your Director stays close at hand. Again, if you're not an old theatre hand, a lot of the Costumer's art will be a mystery to you -- especially the tremendous difference between what a costume looks like in front of your nose and from the middle of the auditorium.