dollhouse collaboration project group 37

By Kelly Evangelista, Vinh Le, and Jose Bustillos Cayama (Group 37)

DOLLHOUSE BY REBECCA GILMAN

By Jose Bustillos#0987030

DIRECTOR

For this play I chose to stick with the original script provided by Rebecca Gilman.

I decided on this original script because it is easy to understand and I appreciated it.

This script helps define the main characters and their personalities.

Scripts helps shape the Spine of the play.

CHOOSING A SCRIPT

As a director I’m casting actors who are best suited for each role.

I will be typecasting based on the age of the actors.These roles are fulfi lled by the following actors:

CASTING

Nora Helmer – Rachel McAdams

Terry Helmer – Bradley Cooper

Pete – Patrick Dempsey Kristine Linde – Emma Stone

Raj Patel – Nick Kroll Marta – Michelle Rodriguez

As the director the Spine that I want to display is one of “Letting go of the past and starting over”.

This spine is true to the script and is it present in all main actions of the play.

SPINE AND THEME

As the director I’m choosing a style which best represents the spine of the play.

For this play the best style of production is one of naturalism.

I chose this because I want to emphasize the characters of the play by having a setting as natural and real as possible as if we’ve caught these characters in the act , or a piece of real l ife transferred to the stage.

STYLE

As the director I’m laying my own personal concept of this play, appropriate to the spine of the play.

I’m setting this play in modern times in a multimillion penthouse in the city of Los Angeles.

The concept and central imagine are related to the spine, these characters have all had confl icts with each other which they have not let go in the past and is impeding their happiness. I want an image that is changing as the story progresses, from a clean looking environment at fi rst to a grittier background as more problems and truths arise.

DIRECTORIAL CONCEPT

By Kelly Evangelista#1205075

COSTUME DESIGN

Help establish the style of a production Indicated the historical period of a play and the locale in

which it occurs Indicate the nature of individual characters or groups in a play

– their stations in life, their occupations, their personalities Show relationships among characters – separating major

characters from minor ones, contrasting one group from another

Where appropriate, symbolically convey the signifi cance of individual characters or the theme of the play

Meet the needs of individual performers, making it possible for an actor or actress to move freely in a costume, perhaps to dance or engage in a swordfi ght, and, when required, to change quickly from one costume to another

Be consistent with the production as a whole, especially other visual elements.

OBJECTIVES

The style of the costumes used in Dollhouse is a mixture of casual and formal, depending on the act. The costumes look like normal clothes that people would wear every day today. The costumes seem like normal outfi ts because the play takes place in 2004 in Chicago. The play includes a realistic plot. Therefore, the costumes do not need to be too dramatic or theatrical.

Some items are reused by diff erent characters in diff erent acts in order to minimize the budget of the play. Also, the button down shirts are a bit bigger so they could be easily taken off by slipping them off over the head to save changing time. The shoes are already tied and easily slip on and off. A minimal amount of accessories were used to also minimize changing time.

STYLE

ACT ONE

In the beginning of the play, Nora has come back from Christmas shopping and uses a purse. Her costume for this act is casual and includes winter clothing.

NORA

Terry’s costume for Act One is not too casual because he seems to be very high-class. He works at a bank, which pays a good amount of money, so it seems as if he would wear a fancy watch and nice clothing, even at home.

TERRY

Iris is the cleaning lady and only appears in Act One. Her costume is simple and easy to find.

IRIS

Pete’s character seemed very laidback. I decided to design an outfi t that was very casual and warm for the winter season.

PETE

Kristine seemed to have taken a long trip before she got to Nora’s house. This is why her costume consists of many winter gear to keep her warm. She also does not have much money left due to her unemployment so her clothes are not expensive.

KRISTINE

Marta’s personality was kind and gentle. She also gave a feminine and caring vibe. Her costume is comprised of light colors to resemble her personality. It also includes boots, a coat, and a hat because she came from ice skating with the children.

MARTA

The kids have just come home from ice skating. Because of their young age, it seems as if Marta or Nora would have dressed them with a lot of layers to make sure they’re as warm as they can get.

SKYLER, MAX, AND MACEY

Raj seemed to keep to himself. His costume reflects his reserved personality by not having strong colors and flashy accessories.

RAJ

ACT TWO

In this scene, Nora changes from one sweater to another. The play expresses the detail of her lacy bra. Having an actor stand in front of an audience with no shirt seemed inappropriate, so I included a beige tank top to be worn under the lacy bra.

NORA

When Terry fi rst appears, he has just come home from work. Terry works at a bank so his costume would need to be formal.

TERRY

After Terry changes from his work clothes, the script describes Terry in jeans and a sweatshirt.

TERRY (CASUAL)

Pete seems very relaxed, but he is also rich because he is a doctor. His costume is composed of casual yet expensive clothing.

PETE

Kristine is a modest person. This outfi t reflects her modesty and her tendency to not stand out too much. Her outfi t does not include flashy or expensive jewelry.

KRISTINE

ACT THREE

In Act Three, Nora just came home from the 80s themed new years party upstairs. She was dressed as Jennifer Beals in the movie Flashdance. Her costume comprised of a gray off-the-shoulder sweatshirt, tight leggings, and a big curly wig. After her and Terry fi ght, she changes into jeans and comfortable shoes.

NORA

Terry was dressed up as Ronald Reagan during the 80s themed new years party. Due to his salary, his costume needed to look expensive and clean cut.

TERRY

Pete went to the 80s themed new years party as Pee-wee Herman.

PETE

In Act Three, Kristine is babysitting the children while Terry and Nora are away for the party. She doesn’t go anywhere special so her costume is made up of casual clothes, yet again, and more winter clothing.

KRISTINE

Raj’s character seems very easygoing despite the fact that he is conducting extensive research. His outfi t is composed of casual clothes suitable for the weather.

RAJ

The style of the costumes are outfi ts you can see people wearing today. The play is realistic and takes place a few years ago, so the costumes aren’t required to be extravagant. The costumes are basically outfi ts seen every day in the street. The style of the clothing helps add to the realistic attribute of the play.

CONCLUSION

By Vinh Le#1234466

SET DESIGN

ACT ONE SETTING

ACT ONE SETTING

For the fi rst act of this play, the setting is in an upscale condo in Chicago taking place in December of 2004. The furniture and décor sends off a vibe of elegance and exquisiteness. As this is taking place around Christmas, the Christmas tree is already up with presents underneath and other decorations such as poinsettias. The house is well-managed and neat, as they have a housekeeper. The mood is light-hearted and the environment emits a warm, familial aura given by the fi replace and assorted candles. I believe that a proscenium theatre space would be best suited for this play. This is a very realistic type of theatre as it deals with regular, everyday problems such as debt.

ACT TWO AND THREE SETTING

ACT TWO AND THREE SETTING

The set design is similar to the fi rst, except Acts 2 and 3 take place after Christmas so the presents underneath are missing. The fi replace is out, so the set is missing the warm vibe.