Dael Orlandersmith, Matthew Dean Marsh, and David Cale in You Don’t Know the Lonely One.
photo by B. Docktor
Celebrated set designer Walt Spangler engaged in a thought-provoking conversation with Ancram Opera House staff member Vanessa Baer. The following interview offers a glimpse into Walt's creative process on his latest project, You Don't Know the Lonely One, staged at the Ancram Opera House October 20-29.
Vanessa: You Don't Know the Lonely One is a new production, and this is the piece’s first set design. Can you share your approach to designing for new work?
Walt: Luckily, I came into this process after the creators had already spent a workshop here in Ancram. When they came to me about defining the space here at the Opera House, they were able to show me a lot, including a video. Typically, when starting a new project like this, you often don't have much to work with, and it's a process of making it up as you go. In this case, thanks to the prior workshop, we had a headstart in understanding the project from start to finish.
Another unique aspect is that the workshop took place right here at the Opera House, a space with its own distinct character. The script and the existing space have greatly influenced how this process has gone for me.
V: How has it been working on the Opera House stage?
W: It's been delightful. I visited the space a few weeks ago after watching the video. While I had an idea of the material, I wanted to see the space for myself to really understand the history of the building. I took measurements and photos to create a miniature version in my studio, which inspired the design.
During the visit, people stood in for the performers, and we explored furniture placement through improvisation. We captured photos in the space, with performers' stand-ins portraying isolation and connection scenarios. I shared these options with Bob and the performers, along with mood boards adding details like rugs, the existing grand piano, and contemporary furniture. These elements create an intimate setting, reflecting the theme of isolation in the material.
V: What influenced your design for You Don’t Know the Lonely One?
W: When Bob first talked to me about this project, he mentioned it deals with isolation and loneliness. These themes resonated with me, particularly given the recent pandemic and its impact on people's work and connections. These real-life experiences make the storytelling relatable.
As a set designer, I aim for an open-ended design that can adapt to the performers' personalities, accents, and demeanor. They portray a diverse range of characters in various settings, and interestingly, most of my current projects share the theme of isolation and loneliness. It's fascinating how they all interconnect.
V: You have a history of collaborating with the director, Robert Falls. What is your collaborative approach, how has it evolved over time?
W: I started working with Bob in 2000 when he invited me to design a Rebecca Gilman play at the Goodman Theatre in Chicago. That was our first collaboration, and we've been working together ever since. Most of our projects involve grand, complex stories that demand elaborate scenery.
Our process begins with Bob sharing everything that he has on his mind. I then take his input and work on it for a few weeks, usually returning with a physical miniature model of the space we're working in. We go through the story step by step, often using miniature figures in the model, to help visualize the performers in the space. This process acts like a miniature rehearsal, allowing us to go through the entire story, and that helps us discover what works and what gaps need to be filled, and we repeat it until we feel everything is well-covered.
In the case of our current project we followed a similar process, but we already had the beautiful Ancram Opera House as our stage, with all its unique details, coziness, and history. This time, we worked directly in the space instead of relying on a miniature model.
Because of our long history of collaboration, we've developed a shorthand that helps us understand each other's needs. We know when to describe ideas and when it's better to show them visually. I believe in providing tangible options, allowing people to see, touch, and interact with choices. This approach helps Bob make quick decisions based on his immediate reactions to the performers in the space and the elements I propose. Today, I'm working on some shelving already present in the theater, exploring possibilities for what could be placed on those shelves, from entirely bare to fully adorned. It's my task to present these options to Bob, knowing how important it is for him to see and feel the space before making a decision.
V: I can not wait to see what you’ve done with the space!
W: It's quite simple, really. It's about revealing the space for what it is – its inherent beauty – and using that intimacy to amplify the themes of isolation and loneliness. With just three people in the space, their interactions tell us whether they are together, apart, strangers, or deeply connected.
What's intriguing is the audience's perspective of seeing the entire room, erasing the division between the audience and the stage. This creates a unique communal storytelling experience, suited for solo storytelling without the trappings of traditional theatre.
I'm excited about it. The space itself has its own unique character. Many theaters are often neutral and almost beg for some sort of scenery to be built to cover it up. In this case, my reaction was the opposite – it was about stripping everything that doesn't belong in the theater and showcasing it for what it is.
Walt’s upcoming projects include Babbitt at La Jolla Playhouse, The Apiary, and Make Me Gorgeous.
