© 2016 BY ESSENCE PRODUCTIONS

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DESIGNS CONCEPTS

POINT OF NO RETURN – DESIGN CONCEPTS

Graphic Design

Hero image for 2018.
Even though the 2016 hero image below is still used now,

a new image was created to reflect the attitude of the boys

as a gang on the lookout for danger. To give it a darker feel

the black background was used and the photographer,

Ruben Duffy, also did graphic work over the original
photo which added some intensity to the atmosphere.

Red the leader, stares directly ahead. He has
blood on his hands and with arms folded he clearly shows

his position of power. Jeremiah looks down as the newest

member and the follower in the group.

Hero image for the 2016 performances.

This image was selected as the hero/main marketing image.

The boys are all looking out to sea as the next convict ship sails in.

They appear deep in thought which creates a sense of anticipation.

Rather than give the photo a traditional sepia overlay, it was felt

in keeping with the realism style, modern colouring and shading.

This would evoke a more immediate response instead of

looking back at an old forgotten time. The sailing ship was graphically

not only understands it is set in the past but evokes a sense of

anticipation of what the ship could be bringing. The building was

also added (denoting the barracks) giving a sense of place and

purpose to the setting.

Set Design

Set Designer David Horne created a very effective set that was able to be enhanced through lighting as the mood and dynamics of each scene changed.

 

 

 

The settings for the play are the workshop/sleeping quarters, beach area, Hawkins’ area and solitary. Solitary is not seen in this image but was added as a large crate stage left (see below). The angled fragmented window is a simulation of the shoddiness of many of thebuildings at Point Puer. The window also allowed different lighting effects to come through for change in settings/mood/time of day. Hessian was used as sand to give an obvious different texture and therefore place, to the rest of the set. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Actual set built at the Wyndham Cultural Centre. Solitary box stage left. Note the 4 metre square platform set at an angle allowing interesting power positions for the characters. The platform displayed not only the rustic wood feature of a barracks, but created interesting performance spaces and levels. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Red (seated) has come to give comfort to Jeremiah who is in ‘solitary’ barely seen but only heard. The focus is on Red’s reaction to Jeremiah in solitary hence the spotlight on Red. Beach scene with old wood laid at angle, hessian for sand, polystyrene rocks and real plants.

Lighting Design The set was designed so that there are no physical changes throughout the play. Lighting is used to alter the audience’s focus to different locations All settings are visible at once and the actors move easily between these scenes. This helps the audience understand how connected each location would be and ensures there is always a sense of danger as a gang of boys, or a guard could appear at any moment. In some scenes it allows the audience to not fully shut out other characters who have an emotional investment in a scene whilst not physically being present. For example, when Red leaves to go to comfort Jeremiah in solitary, the other boys are still in view in the barracks (though dimly lit) as they anxiously await Red’s return.

 

The design of the set allowed for a basic but contemporary lighting grid to manipulate focus

and create or enhance mood. A hazer effect (not shown in photo) highlighted the light

coming through the window. Spot lights were used on Hawkins monologue separating his

space from the boys’ barracks and drawing the audience deeply into Hawkins’ world.

A blue wash dimly lit in the

opening scene sets a darker

mood as Jeremiah is

introduced to the prison.

This is in contrast to the

following scene at the beach

with has warm glow of

sunrise and a more lively

feel as the boys enjoy their

banter.

A flickering led light placed behind the large rock with the boys active using sticks and sliced

apple created the illusion of cooking a potatoes of potatoes on a fire. The boys’ faces were

also warmly lit by the glow of the ‘fire’. In this scene the rest of the set is completely

darkened gives a strong sense of the boys being alone.