Aunt Dan and Lemon
by Wallace Shawn
Directed by Chip Walton
Scenery Designed by Brian Cook
Costumes Designed by Tricia Stevens
Sound Designed by Matthew Morgan
Department of Theatre
University of Denver
May 1999
Aunt Dan and Lemon was
produced on the University of Denver Theatre Department’s proscenium
stage.For this production audience risers were built on stage. They were
arranged to produce a 20' by 18' arena stage. Batten trim height was 18'
by Wallace Shawn
Directed by Chip Walton
Scenery Designed by Brian Cook
Costumes Designed by Tricia Stevens
Sound Designed by Matthew Morgan
Department of Theatre
University of Denver
May 1999
Aunt Dan and Lemon was
produced on the University of Denver Theatre Department’s proscenium
stage.For this production audience risers were built on stage. They were
arranged to produce a 20' by 18' arena stage. Batten trim height was 18'
The Aunt Dan and Lemon set was based on Dadaist artwork.
Fractured spaces extended into the audience areas destroying
the sense of space normally experienced by the audience.
The lighting was based on 6 basic lighting areas. Each area was
lit 5 instruments (Canary, R312; Orange, R23; Salmon, R41; Primary
Green, R91; and as a top light Light Red, R26). The four basic
colors came from random directions so an actors face would change
color unexpectedly as they walked through the space. Also, at
random, one instrument into each of the acting areas had a leaf
gobo. The entire space was then washed with 12 instruments. These
were gelled in Deep Lavender, R58, and Primary Blue, R80. Numerous
specials with gobos were used for each significant mood or location
change. To separate Lemon from the rest of the space during her
monologues two follow spots were used. The fractured look of
the lighting often made it impossible to tell a strange painted
shape on the floor from the shadows cast by the triangular platform
units. The audience was also lit in a way that joined them to
the acting space rather than separated them.
The Aunt Dan and Lemon set was based on Dadaist artwork. Fractured spaces extended into the audience areas destroying the sense of space normally experienced by the audience.
The lighting was based on 6 basic lighting areas. Each area was lit 5 instruments (Canary, R312; Orange, R23; Salmon, R41; Primary Green, R91; and as a top light Light Red, R26). The four basic colors came from random directions so an actors face would change color unexpectedly as they walked through the space. Also, at random, one instrument into each of the acting areas had a leaf gobo. The entire space was then washed with 12 instruments. These were gelled in Deep Lavender, R58, and Primary Blue, R80. Numerous specials with gobos were used for each significant mood or location change. To separate Lemon from the rest of the space during her monologues two follow spots were used. The fractured look of the lighting often made it impossible to tell a strange painted shape on the floor from the shadows cast by the triangular platform units. The audience was also lit in a way that joined them to the acting space rather than separated them.
Both a fog machine and a hazer were
used during the course of the play. The atmosphere was filled
with haze from the end of Lemon's first monologue until the beginning
of her last 4 page monologue. Only then were we able to see sharply
and in great detail. The memory sections were smoky and had blurred
edges.
Lemon watches Mother and Father and Dan
Lemon watches Mother and Father and Dan
The Little House
The NightClub
Lemon and Dan watch Mindy start the seduction of Raimondo
Lemon describes Dan's death
The Little House
The NightClub
Lemon and Dan watch Mindy start the seduction of Raimondo
Lemon describes Dan's death
