By Gillian Brunette
Just as the actors have to learn their parts, so too do those who work behind the scenes. The costumiers, light and sound technicians, set design, construction and props people play vital roles in ensuring that everything comes together as it should when the curtain opens.
At the production’s outset one of the most important group of people are those who design and build the stage sets. For Wizard, the role of set designer belongs to Helena Renwick. Renwick spent many years as front of house manager, both in Toronto and at the Algonquin Theatre, but wanted to express her creative side through the making and designing of sets.
SCENING IS BELIEVING: Helena Renwick, set designer for The Wizard of Oz, shows one of her many sketches for a scene in the show. Thanks to a whole host of volunteers, the designs will be transformed into built structures and convincing images on stage.
“I spent three years at Ryerson University studying theatre production and learned much from that program, not just house management, but all aspects of lighting, sound and costuming that have been most useful in many areas of my life,” said Renwick, who also has a degree in visual arts from the University of Toronto.
Renwick created the sets for the Christmas production of A Gift to Last, directed by Derek Shelly, and prior to that designed and painted the underwater world of Atlantis for the Muskoka Dance Academy’s production of The Little Mermaid.
Last year, her involvement in the musical Annie allowed her to soar to new heights in the scale of the sets. “The skyline of New York City, some 18 feet high, was the most fun I have had with paint and a step ladder in a long time,” she laughed.
The designs for the Oz set have had Renwick thinking outside the box.
“She was the person I wanted to create the look of Oz and the Emerald City. We had similar ideas about keeping the set minimal and using the effect of lighting as sets,” said director Gregg Evans.
So, rather than using large, cumbersome sets, Renwick designed the sets with the use of lights and projections onto the syc, which is a large cloth the width and height of the stage (upstage) upon which lights can be projected to create an illusion of space.
“I always felt the syc has never been used to its full potential,” said Renwick. “By utilizing a variety of lights and capturing the different effects each light can produce, the resulting images will be very special indeed.”
Renwick will be working closely with lighting director James Solecki to obtain the desired illusions. Taking the designs from the page and turning them into physical shapes fell to the construction crew working under the watchful eye of Ross Kirwin. A Rotarian, Kirwin brought a number of fellow members onside, just one of several areas where the Rotary Clubs of Huntsville has combined its talents with the North Muskoka Players and the Huntsville Festival of the Arts, who are producing the show.
When the curtain finally opens on April 16, prepare to be amazed by the talented cast on stage and the players in the orchestra pit — of which Neil Barlow is the director and Jillian McDougall the music director — but also spare a thought for the people behind the scenes. Just a few of them include Suzanne Riverin, assistant artistic director, Jay Osborne, stage manager, Don McCormick, sound cues, Chris Boon, sound, Zelda Dwyer assistant stage manager, Lisa Thomas, props, Nicole Pantaleo, costumes, and Carol Rhodes, make-up, all ably assisted by a whole host of volunteers.
The Wizard of Oz plays for nine performances. Tickets are $80 for a family of four, $25 for adults and $20 for youth under 18, and are on sale now at the Algonquin Theatre box office on Main Street, by dialling 789-4975, or online at www.algonquintheatre.ca
