The stage is set

As you settle into the plush, red seats in Orangeville’s historic Opera House, your gaze will naturally be drawn to the stage. For the team at Theatre Orangeville, this is often when the performance begins. The carefully designed set is much more than a functional performance space for the cast. It sets the mood for the show, establishes the place, and helps to build the audience’s anticipation for the performance.

The creative mind behind many of Theatre Orangeville’s sets is Beckie Morris. For over a decade, Beckie has been working in a variety of creative and technical roles, allowing her to bring a unique perspective in her current position as Production Manager. Some of Beckie’s more elaborate work has included stage-to-ceiling designs with walls and pillars, doors and windows, and furniture and props that are adjusted throughout the performance. These realistic box sets aim to firmly put the actors in a particular place.  Other shows provide an opportunity for a more abstract setting, intended to let the relationship and dialogue of the performers be the focus. “Whether expansive and detailed or neat and simple, the set must always serve the show,” says Beckie. “That is always the priority through the entire design process.”

The set design for Theatre Orangeville’ current production of “They’re Found in Trees” started weeks before opening night on October 12.  Like other shows, the process begins with rough digital concepts that are developed after reading the script and connecting with the Director’s vision for the production. The selected concept is then rendered out into 2D drawings for review by the Technical Director, initiating the more practical side of the process. “There is always discussion and compromise at this stage,” says Beckie. “We work together to decide where we can make adjustments to hit the budget and ensure safety while still achieving the concept’s creative idea.” This process typically takes one month and ends with the final drawings being delivered to the capable team that builds, paints, and assembles the final pieces. “The back-and-forth continues through the building process and then again when the set is assembled on stage” says Beckie. “As it comes to life, we find ways to enhance the design with different materials, paint, and of course lighting.  All of those small details can really make a big difference.” When the set is revealed to the cast, conversations continue and final adjustments are made to ensure that every element is in place to support and enhance the performance for the actors and the audience.

With “They’re Found in Trees” now on stage until October 30, Beckie will turn her talent to the development of the next set. “We’re always working two or three shows ahead to ensure we can get it just right.” Watch for Beckie’s work on stage during the holiday production of “The Last Christmas Turkey” and again in February during “Beneath Springhill: The Maurice Ruddick Story.”

Photo: Set designed by Beckie Morris for Theatre Orangeville's 2022 production of They're Found in Trees. Lighting design by Rebecca Picherack. 

"Of all of the sets you've designed, which one is your favourite?"

Beckie’s favourite set was created for the Theatre Orangeville’s 2015 production of “Norman Bray in the Performance of His Life” by Trevor Cole. “The entire set was built using cardboard,” remembers Beckie. “I developed the concept and was encouraged to make it happen in my own way, with a lot of creative freedom.” Every piece of the set – bed, chairs, stairs, even the phone displayed on the office desk – was crafted from cardboard, creating a subtle palette full of intricate details. 

“It was really more of an art installation than a set,” says Beckie. “It will always be remembered as the show of a 1,000 paper cuts!”