The Scenery Design Process

Intensive research is all a part of Carole Klemm's work as a Scenery Designer. Her design for A Doll's House is a reflection of the Gustavian period, a Scandinavian style of interior decoration.

Klemm worked extensively with the director of this show, Kim Collier, in developing the production concepts. "We abstracted elements from the Gustavian style to create a feeling from that time period, rather than try to reproduce it realistically," says Klemm.

The choice for the colour palette is also an essential component in determining the mood of the play. It must work well with the costumes and the lighting to produce the desired effect. "Visually, we want the set (a living room) to subtly represent a bird cage in which Nora, the heroine, is entrapped. We are really 'pushing' realism aside to provide a pleasing result for the audience."

The end result of what you see on stage is the cumulative effort of an artistic design team that includes: costumes, lighting, sound, scenery and properties. The stage is now ready for the actors to begin their work and to deliver the message of Henrik Ibsen's A Doll's House.