DESIGN & PRODUCE A THEATRICAL EVENTPlan the production to the minutest detail possible. Include all description and illustration necessary to convince backers to fund your production.Format: Microsoft Word documentminimum pages: 16script: (The bear)1) A LEGITIMATE (TRADITIONAL) THEATRICAL PLAYchoose a theatre space (proscenium, thrust, arena, black box), design costumes, set, lighting, sound. Solve logistical problems. How many actors to portray the characters (double-casting?)? How many crew members? How much will it cost? How long from planning to opening? How long can it run? etc. Create a portfolio presentation on pdf, doc, or ppt form in as much detail as you think will convince backers to give you the money necessary to produce your show.I upload the script for( the project) and examples


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Final Project
Little Red Riding Hood by Billy Aronson
Little Red Riding Hood by Billy Aronson reveals the narrative of this common childhood
story in a very unique and adult-oriented manner. The psychotic persona of the characters, the
gruesome tone of the scenes, and the unrealistic relationships the characters have with one
another all contribute to the fairy tale quality in which this story is usually recounted. The
decisions that I have made for my personal design of Little Red Riding Hood aim to physically
depict the obscure characteristics that define the nature of this particular script. It is my goal to
create an unusual stage design that will allow for a simplistic set and the darkness of both the
characters’ costumes and stage lighting to be
symbolically interpreted.
I envision the setting of Little Red Riding
Hood to take place in a large Black Box Theatre
where the layout of both the stage and audience
can be easily rearranged. However, the specific
layout for the play will be rather diverse from
normal stage layouts. Instead of having just one
stage where all of the play’s scenes take place,
there will be two stages separated by a rectangular path
where Scene 2 of the play will occur. Figure 1 shows the
Figure 1
image of the theatre I envision. On Stage 1, Scenes 1 and 3 will occur. On Stage 2, Scenes 4, 5,
and 6 will occur. Essentially, the stages represent Little Red’s house and Grandmother’s house,
while the Path represents the forest that separates them.
As also identified in Figure 1, the placement of the theatre audience will be directly in
front of the stages in similarity to a
Proscenium layout. However, the platform of
the seating will be elevated on order to allow
every audience member to have an adequate
view of the stage. The play will be moving
back and forth from Stage 1 to Stage 2 so it is
important that the audience is able to still see
what is taking place on stage when they are
sitting on the alternate side of the theatre. The
Figure 2
platform elevation, as depicted in Figure 2, will be a key aspect to ensuring an equal reflection of
the play across the entire audience. The theatre will host roughly 100 people for one show. Due
to the short length of the play, it can be run repeatedly over short time intervals if necessary.
Therefore, it is not as important to have a large quantity of audience seating compared to the
importance of having a large area for the stages to be constructed.
The actual venue of the play will be relatively small, once again due to the short nature of
the play’s length. The stage will indeed take up a bigger proportion of the small venue with the
front end being situated very close in proximity to the first row of the audience. The distance
between the stage and the audience will create a very intimate space that will allow the audience
to capture more of the theatrical elements being emphasized throughout the play. In order to not
cause any interruption to this intimate setting, both the audience platform and the stage will
remain stationary throughout the entirety of the play. The audience will sit in cushioned chairs
that are normally symbolic of theatre seating. Having the audience seated rather than standing
against the stage will allow them a much more comfortable and still view. This view will allow a
greater amount of their focus to be directed towards the stage instead of distractions, such as
talking, that would be more likely to occur if standing directly aside somebody else throughout
the performance.
Directly on the stage, I envision the set design to be very minimal so as not to take away
from the abstract personas of each of the characters. Nevertheless,
there will be enough props on stage for the audience to understand
the setting of the scene. On Stage 1, the set will portray Little
Red’s house. Scenes 1 and 3 take place in the kitchen of this
home. In the center of the stage will be a table with simple
checkered tablecloth with three chairs placed around the table corresponding to the three people
that live in the home (Little Red, her mother
and her father). A bowl of fruit will rest on the
table to create a more home-like image. Aside
from the table which is intended to be the
primary focus of Stage 1, a stove and kitchen
cabinets will be encircled around the back of
the stage to make it evident that the scene is
taking place in a kitchen. Figure 3 shows an
example of how this kitchen frame would look.
The same wooden color scheme of the cabinets
Figure 3
and counter space pictured will be used to exemplify the
mundane importance the frame has in relation to the table
where conversation between the characters will be
occurring. Props such as the pie, muffin, and wine that
Mother tells Little Red to bring to Grandmother will all be
visible to the audience as well. The Path of the stage
design will represent the route that Little Red takes
through the forest to her Grandmother’s house. The path
will be engrossed with fake trees that create a maze for Little Red to follow through but that also
do not deceive the audience’s view of the scene. The instance where Little Red meets the Big
Bad Wolf will occur in front of a tree in the center of the path. The river mentioned in the script
during this scene will, in this case, only be imagined. There is no need for a physical river to be a
part of the set as it has no effect on the plot’s process. The flowers that Little Red plucks from
the grass will also be envisioned by the audience in order to allow them to conceive the flowers
as their imaginations perceive them. The
simple motion of Little Red plucking the
flowers is what will be visible to them. On
Stage 3, the set will portray Grandmother’s
house. Keeping with the simplistic nature
of set design, only a bed and dresser will be
understanding of the fact that a bedroom is
being depicted. The red color of the sheets
symbolizes the danger that is to come from the wolf’s surprise arrival and additionally keeps
with the theme of red that the story is written around. The dresser will have the same wooden
color scheme as the kitchen cabinets previously described to show that there is a connection
between the two distinct households.
NOTE: The minimal set structure apparent in all three areas of the stage not only aim to keep the
audience’s attention focused on the characters, but are also necessary because of space. In order
to create the layout represented in Figure 1, each stage space has to be smaller than what it could
be if only one stage was being transformed to fit the different scenes of the play. The set designs
outlined give a reasonable justification for where the scene is occurring while allowing enough
space on the stage for the actor’s to fully showcase their character to the audience.
The majority of the script for Little Red Riding Hood is conversation-based and therefore
not much movement is necessary on stage for the characters to perform. Due to the fact that not
much area is needed for movement on the stage, the two smaller stages work acceptably for this
performance. The performance space on the stage is the main area where the characters perform.
However, at the end of Scene 2 when Little Red begins to pick flowers, she will actually come
off of the Path to pluck the invisible flowers below the stage. By having Little Red come off the
stage, the transition to the Grandmother’s house for Scene 3 is able to flow more smoothly.
When Little Red comes off of the Path, the Big Bad Wolf will continue to Stage 2 where he will
appear in Scene 4 talking to the Grandmother as she lays in bed. In addition, having Little Red
physically come down from the stage will allow the audience to have a closer look at her
character’s costume, the most important and intrinsic costume as Little Red is indeed the main
attraction of the play. This intimate interaction will allow the audience to feel even closer to the
actor’s performing, in addition to the fact that they will already be siting so close to the stage.
During the scenes transitions, the stages will not be touched, but instead left how they are
as far as sets and props are concerned. The actors themselves will also remain on stage. When an
actor is not performing in the scene, they will merely stand in complete stillness on the stage in
the position they finished their last line in. Since the play is so short, it is not a concern that the
characters will not be able to hold their positions. At the beginning of the play, Little Red and
Mother will begin on Stage 1, the Big Bad Woolf will take his position amidst the trees along the
Path, and Grandmother will appear asleep in her bed on Stage 2. The only character moving onto
the stage from behind the stage will be the Hunter, who does not appear until Scene 3 and will
enter onto Stage 1 as if he has just arrived home from a long day of hunting. The significance of
having the actors and the three scene sets apparent on the stage at all times corresponds to the
timing that would be needed to transform the stage after five quick 2-minute scenes. Its seems as
though changing the stage set every two minutes would be very distracting to the audience.
Instead, keeping the entirety of the stage’s necessities on stage will allow for the play to run
smoothly and efficiently. Additionally, having the actors stabilized when it is not their turn to
perform will create a diverse effect not normally used in stage theatre. Since the play is told in a
restricted time frame of one day, no time lapse is needed to diversify one day from another.
Starting the play from Stage 1 and ending it on Stage 2 will show a continuous movement of the
story as if Stage 1 represents the beginning and Stage 2 represents the end.
The theme of this particular version of Little Red Riding Hood is very dark and remarks
on more sexual connotations than does the childhood fantasy version this story has also been
transformed into.
The costumes that the five characters wear will depict this theme and
symbolize particular aspects of the character’s personality.
Little Red Riding Hood
Little Red is a very
mysterious character, simply
because of her content and
emotionless attitude towards
her mother and the Big Bad
Wolf. In Scene 1, she replies
with one word answers to her
constantly contradicting her
words about what she wants
Little Red to do when she
delivers the basket of goodies
to Grandmother. Later in Scene 5, Little Red has no horrific reaction to the wolf’s appearance in
Grandmother’s bed, almost as if she was expecting him to be there.
She even knows instantly that the wolf
is going to eat her and is okay with that.
I have used these traits along with my
own visual image of Little Red’s character to help choose an image I believe encompasses the
mystery behind her. The costume will be slightly provocative to give reason to the wolf’s
immediate attraction towards her. The deep red with satisfy all that is unknown about her
character and the introvert personality she displays. In addition to her dress, she will have a
matching deep red cape draped along her back and a woven basket she will carry through the
forest as she is on her way to visit Grandmother. Her hair will be left down and her shoes will be
black, however do not necessarily have to be boots as depicted here. I image classic theatre shoes
as shown above to be worn instead.
characterized by her psychotic, bipolar
personality that allows the audience to
Grandmother and the Hunter. In Scene
1, it is evident that Mother did not have
a very heartwarming childhood because
of the fact that she wants to choke her
own mother with a stone that she will
slip into a muffin that is supposed to be
delivered as a rather nice gesture.
Seconds later, however, Mother changes her mind and disputes her original idea. At the end of
the scene, Little Red is trying to leave the house to deliver the goodies to Grandmother like
Mother has asked, yet Mother doesn’t understand why she is leaving. At this point there is
evidence of short-term memory loss that the Mother suffers from as well. The costume that
Mother wears will be very quirky in order to symbolize her unique behavior. Her costume will
include a dress that depicts several images of random objects in addition to the classic theatre
shoes that Little Red also wears. The intricate images on her dress are intended to show how
random her thoughts are and how dysfunctional her behavior throughout the play is.
The Hunter seems to be the most normal
character in Little Red Riding Hood, but is very
demanding and hot-tempered. However, his
personality describes that of a hunter perfectly.
He is very adamant about the quality of his work
and understands the sequence of consequences
that could occur if he does not fulfill his duties in
the woods. He is very concerned for the wellbeing of his family as well, and seems to have
the courage to do anything to protect them. I
decided to make Hunter’s costume very bland,
yet very original. His costume is exactly what
any other hunter would wear; dusty boots, ripped
jeans, a dirty shirt with a soggy jacket, and an old
hat to complete his outfit. When he enters on
stage, he will appear to have just come home
from a long day of hunting. He is the only character who will be dressed in a similar fashion to
the original image used for this play.
Grandmother begins her entrance into the play during Scene 4 where she is seen laying in
her bed, suffering from her old age. She too is not very
surprised to see the Big Bad Wolf when he walks into her
room instead of Little Red. Moreover, Grandmother WANTS
the Big Bad Wolf to eat her as an escape from her suffering.
Grandmother’s costume is very symbolic of a grandmother
has well, however is much more representative of the state her
character is in: her old age. Grandmother will wear a silk
black gown, symbolic of death, which Grandmother will soon
come to terms with. In additionally, she will have a black
shawl draped around her shoulders that the Wolf will
eventually take from her at the end of Scene 4, as well as
glasses that will be another feature detailing her old age and sensual inabilities.
Big Bad
The Big Bad Wolf is a very sly character who seems to know exactly what he wants. He
is very persistent, yet cunning. In Scene 2, the Big Bad Wolf meets Little Red in the forest and
asks where she is going. When Little Red mentions that she is going to visit her Grandmother,
the Big Bad Wolf instantly has a plan in mind for how he is going to eat her. The Wolf prefers
young blood, so he is offered the perfect opportunity to meet his wishes. In order to dress such a
character, the makeup is the most pertinent aspect of the costume design. The makeup must be so
well done that the audience could pick out the Wolf if there were one hundred people on stage.
In terms of clothing, the Wolf will be dressed in a plaid shirt and ripped jeans, and walk barefoot
along the stage during all scenes of the play.
The lighting of
the stage will change
from scene to scene.
front of the audience, only the stage where action is occurring will be
lighted. The other two stages will be in complete darkness with the actors still on stage
motionless. The lightning of each of the stages when action is occurring on them will also be
different, however. On Stage 1, full front lighting will brighten the stage with very bright
intensity. On this stage is the inside of Little Red’s house, so the area should be lighted in this
manner to cover the entirety of the kitchen set being displayed. On the Path the lighting effects
will change drastically because a forest depicts a much more somber setting. The lighting in this
case will be top-down, and be a very dark light just enough so the audience is able to perceive
the makeup on the Wolf’s face. The lighting on the Path is intended to represent danger, and the
uncertainty of what is to come when Little Red reaches Grandmother’s house. On Stage 2, the
lighting will shift once again. Stage 2 is the location for Grandmother’s house. The lighting will
not be as bright as Stage 1 since Grandmother is supposed to be sleeping at the instance this
stage is first brought to life. The lighting will be similar to Stage 1 in the sense that it will be full
front lighting, however, the brightness of the lighting will be in-between that presented on Stage
1 and the Path. There will be no specific lighting effects, but the simple change of brightness
between the stages is intended to describe the mystery behind the storyline of the play.
Little Red Riding Hood by Billy Aronson is not intended to be any normal fairytale. It is
even ironic that the Wolf’s last line of the play tells Little Red to “live happily ever after.” Little
Red is confused by this because she is consumed with the idea of life vs. death and her broken
home life/dying grandmother do not help the depressed and vulnerable state Little Red finds
herself to be in. Instead, the script focuses on a sick-minded wolf and an unrealistic series of
events. The features of theatre that I have chosen to create this production would hopefully
exemplify the mystifying nature of the script and inexplicable personalities of the characters. The
stage design in itself is unique, and the short length of the play allow for more creativity when
working with the performance space. Every piece of my design is intended to create diversity
and insecurity about the unknown in order to keep the audience on their feet for what is to come
in such a diminutive amount of time.
Works Cited
Find a existing script, choose a theatre space (proscenium, thrust, arena, black box), design
costumes, set, lighting, sound. Solve logistical problems. How many actors to portray the
characters (double-casting?)? How many crew members? How much will it cost? How long from
planning to opening? How long can it run? etc. Create a portfolio presentation on pdf, doc, or ppt
form in as much detail as you think will convince backers to give you …
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