'Frozen,' 'Harry Potter,' 'Anastasia,' 'Dear Evan Hansen' — when the tour comes to town, digital scene-setting will have unlocked storytelling options.
“We all watch these expensive, amazing movies with huge special effects budgets, so everyone now has these high visual expectations,” said “Anastasia” projection designer Aaron Rhyne. “I love studying the jump cuts and tracking shots and colors of film and how it all makes you feel, and I get to replicate the style of that in the theater. It’s an opportunity to connect with the modern audience, while still having these performers onstage and in the room with you.
With projection design, playwrights needn’t limit their works geographically; a single song can span multiple locations such as the live montages of the Temptations musical “Ain’t Too Proud.” And for Rhyne, these transitions in “Anastasia” are opportunities for digital artistry. “Getting the show up at a Broadway level is like a prototype, a one-off. It’s like Ikea furniture: It’s made to be put together once,” said seasoned adaptive scenic designer Edward Pierce. “Generally speaking, it was never designed, constructed or engineered to come apart and move and be put together multiple times, in theaters of all different sizes.
“Wicked,” which uses physical sets, launched its national tour in 2005 on fourteen 53-foot trucks, plus three more with duplicate production elements, rigging and scenery that leapfrogged to the next stop for early setup. Without the usual storage and setup headaches, these tours can make more stops in smaller markets that don’t require a three-week stay to justify the cost of driving there in the first place. “Anastasia,” a six-truck Broadway tour, is stopping in five cities in two states in under two months. It has scheduled six-day stints in San Diego, Tucson and Tempe, Ariz., between runs at the Pantages and Costa Mesa’s Segerstrom Center for the Arts .
“Yes, some of the set has to be adapted for touring concession, but with video and projections, the cumulative effect of it still feels like the same show. I’m very excited that we can keep the standards of ‘Frozen’ as high as it is on Broadway as it moves through the U.S. and the world. That’s the whole point of touring this thing anyway, to bring it to people.”
“The scale of it was completely absurd, and the amount of handcraft involved was akin to weaving tapestries,” recalled Harrington of the show’s 54 slide projectors that pointed upstage. “While the goal was to appear effortless, I think the audience was wowed by the complexity of what we were doing without totally understanding what it was.”
“This has been around long enough, there’s no reason to ignore it anymore,” lamented “Rock of Ages” projection designer Zachary Borovay, whofor a category at the Drama Desk Awards in 2008. Still, projection design is not a category at the Tony Awards. Borovay says that might be because critics, Tony voters and audiences at large don’t always understand what they’re seeing.
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