Beyond Space Work

By Marci Appelbaum

When John Napier was designing the set for Broadway’s long-running Les Miserables, he faced the issue of functionality.  How to move seamlessly from the inside of a tavern to a battlefield barricade to an underground sewer?  The solution was to have a giant revolving platform cover most of the stage and spin set pieces on and off.  When an improviser faces the same issue of functionality, the solution is always much simpler than million-dollar hydraulics.  An improviser, responsible for creating numerous environments in an evening, relies on space work and mime to do the job.

There are many reasons why improv groups chose to work without a set.  They can be expensive, time consuming and difficult to build.  For groups that are performing scattered shows in numerous venues, lugging lumber around from place to place is hardly an option.  Many spaces have postage stamp-sized stages that can barely fit the whole group at once, let alone a set.  And even if an improv group is doing a long run in a large theater, they do not always have the skilled people on hand to design and build the set.

Improvisers create something from nothing and a show with good space and object work is a joy to see.  A versatile set, however, can enhance even the best space work if you allow it to inspire and make offers.  Take for instance the small stage that can only fit two chairs for a set.  While those two chairs can be used in a plethora of ways, taking the chairs themselves into account is important.  While a stool may make a wonderful end table, a swiveling desk chair might make a better car, and the metal of a folding chair works better than any for making the sound of thunder.  Of course, every group is different, so it’s best to try out different kinds of chairs and see how each kind works for your group.

Or consider the variety of uses for two or three black stackable blocks.  Piled up one way they represent a rocket, another and they become the backseat of a Chevy convertible.  In the off-Broadway show The Fantasticks, which is not an improv show, but uses a minimalist set, a man holding a stick standing on a box becomes a wall, while not two minutes later, that same box is used as a bench.  An added benefit to simple set pieces is many theaters already have some that you can use.  This eliminates factors like cost and portability.

Another simple addition to a show is a door on wheels.  Actually having a door that can be moved on and off as needed not only eliminates the old knock-with-your-fist-and-stamp-with-your-foot maneuver, but also gives the audience a clear entrance and exit point--go out the door and it is clear to everyone that you have left the room, scene, etc.  And when a fellow player suddenly pushes the door so it is right in front of you, your scene cannot help but be influenced by this silent but clear offer.

A stage with levels gives the audience a vivid understanding that two or three locations are being represented at once without anyone needing to break character to yell, “split screen!”  Take for instance ABC’s improvisation show Whose Line is it Anyway?  The two steps that separate the playing space from offstage serve as an extremely clear entrance point, as well as create boundaries for games like World’s Worst. 

Some other ways to create a simple, inexpensive set are:

§         Instead of wooden boxes, use plastic milk crates, either as they are or covered with fabric.

§         Using various kinds of chairs and stools gives the environment variety.

§         Bolts of fabric hung from curtain rods, wire or even stapled to the ceiling make great wings and offstage areas.  Cut holes in the fabric to use as windows or doors.

§         Scrim material is transparent if lit from behind, but opaque when lit from the front.  An actor sitting behind a front-lit scrim can see the stage, but cannot be seen by the audience.  This makes for a useful backstage curtain, as the people offstage can watch what is going on without being seen.

§         Butcher paper or a blackboard hung on the back wall gives the performers the challenge of drawing the set as the audience offers the locations.

§         Slides or a computer slide program preset with images ranging from a bathroom to war torn Europe can be fun provided you have a good tech person.

§         Small, movable staircases or ramps add levels and are as versatile as blocks.

Most of these suggestions are easy to create with items found in any craft store.  If you find yourself looking to build a hammer and nails set and don’t have the in-house people to do it, call a local theater and ask if they have a set builder that they use.  More likely than not, they will have someone who can help you or make a recommendation for you. 

For the ambitious group who needs information about building their own set, pick up a copy of The Backstage Handbook by Paul Carter (Backstage Press, 1994) which will teach you about everything from hammers to paint thinners to earthquake intensities.  If you are in search of inexpensive materials, services like New York City’s Materials for the Arts abound.  MFA is a warehouse where you can get items like fabric, paint, tools and lumber at no cost.  Please note that your improv group must be a not-for-profit 501(c)(3) organization and there is an application process. 

Materials for the Arts can be reached at (212) 255-5924.  To find out about similar resources in your city call The Re-use Development Organization at (317) 631-5395.

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Marci Appelbaum is a contributing writer to Improv Review.  She holds a B.A. in Theater from Florida State University and is Executive Director of Attic Salt Theatre Company, Inc.  Marci is co-author of a theater education book to be published by Scholastic Press in 2001.