It's a ludicrous request, in my opinion. I say it's ludicrous because I'm pretty sure this is something every job requires. And isn't it really juggling some manager's time-management ineptitude? A good manager knows how to structure time to stay focused on a task; how that task relates to larger strategy; how that strategy supports the mission. And a good manager has the ability to just say "no."
But what do I know of managing business?
The original art had been created by my predecessor several months earlier. It's challenging creating art so far in advance of the production. Sometimes even the director doesn't have a clear vision to guide your design. The framework and setting aren't fully developed. It's entirely possible you set Romeo and Juliet at some future star date on Malacandra, instead of under the sea long before civilization takes root.
Luckily, by now the director and set designer have synthesized their ideas into coherent design. As I flip through a PDF of Merry Wives' set design plans, I find a mock-up of a scrim. This large, slightly sheer fabric hangs on stage, in front of the set and in this case, will be painted with a scene of Windsor Castle and period advertisements.
It's the perfect launch point to design new art.
My main goal with show art, beyond making something beautiful and/or interesting to look at, is to provide a familiar point of reference for the audience. I want them to see the street banner, an advert (non-rhotic pronunciation, of course) or the theatre poster and watch the show feeling as if they've been given the "right" impression.
As such, I take the first design cue from the title on the scrim. I rework the logotype with STC's institutional Gotham (Condensed) font. I also pull a new palette from the predominant colors on the scrim, figuring these colors will further the familiarity goal.
Next, thinking of what will catch the eye most from the street, I mock up a yellow starburst background, also from the scrim. Cuing the portrait of King George, I also put Falstaff, Mistress Ford and Mistress Page into cameos. Finally, at the suggestion of the Marketing and Communications Director, I bring in Windsor Castle, grounding the image and providing the setting context.
Now we need new photographs! Luckily, this close to the production, the roles have been cast and we arrange a photo shoot with the actors. Unbelievably, the Marketing team entrusts me to photograph the actors, instead of hiring a professional photographer. (This has nothing to do with budget consideration, nothing whatsoever.) So, here we go . . .
All three actors are amazing in the shoot. We use simple hints of costumes, since they won't be fully visible in the final artwork—plus the "real" costumes are still being constructed in the costume shop.
As these photos and the art goes around for final approvals, word comes back to me that Veanne is not fond of her photograph.
Worse, the director does not like one bit our Falstaff. I hear the director thinks the antlers give away the ending. Spoiler alert from a 400-year-old Shakespeare play: Falstaff ends up wearing "horns." Shakespeare loves a cuckold.
I'm disappointed to hear that people involved don't like the final result. Though, I'm proud of what we pulled together in a short amount of time. I feel like it's true to the play and the production, achieving the goal. This is true especially when I see the lights come up on that scrim for the first time and enjoy my first Shakespearean production with STC.
Oh, and without much [more] ado, here's the final art:
And how it looked around town.
But what do I know of managing business?
Therefore it's comes naturally while pushing out all things The Servant of Two Masters quotes, I must also prep for the 2011-12 season's last show: Shakespeare's The Merry Wives of Windsor.
I'm actually a bit excited about this prep, since it involves reworking the main show art before we begin the publicity and marketing push for Merry Wives.
The original art had been created by my predecessor several months earlier. It's challenging creating art so far in advance of the production. Sometimes even the director doesn't have a clear vision to guide your design. The framework and setting aren't fully developed. It's entirely possible you set Romeo and Juliet at some future star date on Malacandra, instead of under the sea long before civilization takes root.
 |
| Original The Merry Wives of Windsor show art |
In the case of Merry Wives, the team originally thought the show would be set sometime in the late 1930s. As Merry Wives begins rehearsal, we've learned from the set designer and director that Merry Wives will be set in the mid 1910s—a much earlier time frame. It's a time of different fashion, a time when British women wore hats.
 |
| (Wait. Don't they always wear hats?) |
Luckily, by now the director and set designer have synthesized their ideas into coherent design. As I flip through a PDF of Merry Wives' set design plans, I find a mock-up of a scrim. This large, slightly sheer fabric hangs on stage, in front of the set and in this case, will be painted with a scene of Windsor Castle and period advertisements.
 |
| Scrim design |
It's the perfect launch point to design new art.
My main goal with show art, beyond making something beautiful and/or interesting to look at, is to provide a familiar point of reference for the audience. I want them to see the street banner, an advert (non-rhotic pronunciation, of course) or the theatre poster and watch the show feeling as if they've been given the "right" impression.
As such, I take the first design cue from the title on the scrim. I rework the logotype with STC's institutional Gotham (Condensed) font. I also pull a new palette from the predominant colors on the scrim, figuring these colors will further the familiarity goal.
 |
| Title rework and new palette |
Next, thinking of what will catch the eye most from the street, I mock up a yellow starburst background, also from the scrim. Cuing the portrait of King George, I also put Falstaff, Mistress Ford and Mistress Page into cameos. Finally, at the suggestion of the Marketing and Communications Director, I bring in Windsor Castle, grounding the image and providing the setting context.
 |
| Draft idea for new Merry Wives art |
Now we need new photographs! Luckily, this close to the production, the roles have been cast and we arrange a photo shoot with the actors. Unbelievably, the Marketing team entrusts me to photograph the actors, instead of hiring a professional photographer. (This has nothing to do with budget consideration, nothing whatsoever.) So, here we go . . .
 |
| Veanne Cox vogues as Mistress Page |
 |
| Caralyn Kozlowski as Mistress Ford |
 |
| David Schramm as Falstaff |
As these photos and the art goes around for final approvals, word comes back to me that Veanne is not fond of her photograph.
Worse, the director does not like one bit our Falstaff. I hear the director thinks the antlers give away the ending. Spoiler alert from a 400-year-old Shakespeare play: Falstaff ends up wearing "horns." Shakespeare loves a cuckold.
I'm disappointed to hear that people involved don't like the final result. Though, I'm proud of what we pulled together in a short amount of time. I feel like it's true to the play and the production, achieving the goal. This is true especially when I see the lights come up on that scrim for the first time and enjoy my first Shakespearean production with STC.
Oh, and without much [more] ado, here's the final art:
 |
| Redo of The Merry Wives of Windsor show art |
And how it looked around town.
 |
| Theatre poster at Sidney Harman Hall |
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| Street Banners |
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| Print Ad |
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| Print Ad |
