How to Get It Done: Scenery Standard Techniques and Practices

CHAPTER EIGHT

IN THIS CHAPTER

Scenic Techniques Develop Through History

Scenic Design Process

Building Techniques

Study Words

This chapter is all about scenery. Yes, finally we’re going to talk about scenery. Did you think that scenery was going to be Chapter 1? Well, you’ve got to lay the groundwork before jumping in. As we get into the “down and dirty” of implementing scenic ideas you’ll see how the first seven chapters have given you a background you didn’t think you’d need but is now going to come in very handy! This chapter will give you a background in the traditional scenic techniques as well as how they developed over time. As always we are honoring the Theatre’s past before moving into the future. And keep in mind that when the budget is tight you will need this information in order to come up with a well-rounded solution to whatever “challenges” might arise. Once we get the basics under hand, we’ll discuss some of the new technologies available today.

SCENIC TECHNIQUES DEVELOP THROUGH HISTORY

We’re going to continue our discussion from Chapter 1 (remember Chapter 1?) about history and catch up to when scenery started to really take off and come into its own. Playwrights and audiences always wanted more, and the theatre rose to the challenge. We discussed in Chapter 1 the use of the backdrop as it developed during the Greek genre. The Greeks also started to develop a back wall that contained doors for entrances and exits. The next set of scenic developments needed to wait until theatre was indoors, or at least partially covered from changes in the weather.

This brings us to developments that happened primarily between the 16th and 19th centuries. This time in theatre saw many developments to scenery. To create more of an illusion, the idea of the backdrop was expanded and continued further downstage. Each of the wings now had a leg on either side that was painted to continue the design of the backdrop. Overhead, to simulate the heavens, painted borders were added to complete the visual effect. The wings and borders also became known as masking, which had the added benefit that they blocked the backstage area from the audience’s view. This style of scenery came to be known as the wing and drop. It is still a term that is used today.

Another element that had been used in the past, but came into much popularity, was the Periaktoi. Periaktoi are triangular columns that revolve to reveal other sides and sets. Multiple periaktoi are usually used is each wing or across the upstage side of the stage, replacing the backdrop. Picture a backdrop cut vertically into five pieces. Each piece is then put onto one side of one periaktoi. A piece of another backdrop is put on the second side, and a piece of a third backdrop is put on the third side. The five periaktoi line up across the upstage wall and they create a backdrop. They all rotate to another side to face the audience and like magic the backdrop has changed. This can be used for wings to create an extra sense of depth. It doesn’t have to be used just for the backdrop. The rotation of the periaktoi was done originally with stagehands pulling on ropes. Later it was automated with the use of the early winches.

Primitive flying effects had existed since the Greek genre came up with the idea of Deux Ex Machina. They were only slightly more advanced here. Flying could indeed happen inside, which is an advance in and of itself. The designers were still concerned with masking the machinery and used 2D clouds to mask the machinery as it was raised and lowered. This technology often required a vertical track to be secured to a piece of scenery or the actual building. A horizontal beam or platform was then attached to the track. A scenic cloud was then attached to the downstage side of the mechanism so that it moved with the platform, as if to hide it. Of course, the track was in full view above and below the platform, and nobody seemed to mind that!

The next advance used was the predecessor to our current tracking decks. During the 17th century, banks of trolleys were installed under the stage to facilitate scenery moving within a predictable path. Predictable is the key here; the scenery wanted to go from point A to point B, moving along the same path, every time. These trolleys connected to scenery, usually the hard legs, through a series of ropes. Using a sandbag for counterweight, a central shaft was rotated, pulling the ropes and moving the trolleys. Suddenly the two legs had changed positions in the wing and the scene change was complete.

These trolleys evolved into what we know today as a traveler track. Just like a curtain track in your house only bigger and sturdier, the traveler can hold a very heavy curtain and allow it to move. This usually happens in front of the audience’s view with the curtain splitting at center or moving from one side of the stage to the other.

Another addition to the scenic inventory at this point is the trap. A trap is a hole in the floor with a replaceable plug. When the plug is in place, the floor looks complete and it is usually hard to detect where the plug may be. With the plug removed, you will have direct access to below the stage floor. This idea can work great for surprise entrances or exits. Depending on the amount of room below the stage, ladders, scaffolding, and elevators were all used to convey actors and scenery up and down. The elevators were primitive, using traditional counterweighted sandbags. But hey, it worked!

The 18th century brought with it a variety of ways to change the set. We are still dealing primarily with wing and drop changes. The wing change techniques advanced from the 17th-century device to eliminate the counterweight and add a winch—a primitive winch with a crank handle, but a winch! The borders and backdrops were now rolled around a tube that allowed them to be brought up and down. This combination of technologies allowed the whole set to be changed quickly, and apparently by magic.

The use of traps was also expanded during this time. Traps became much more popular with many being built into an individual stage, instead of the original one, two, or three. There were now several ways to open a trap. The trap could be hinged, either up or down. There were sliding traps that were not as obvious to the audience. The trap opened by sliding the cover to the side and basically was stored inside the stage floor.

Toward the end of the 19th century, the audience started to want more realism. This led to the elimination of the wing and drop sets. What developed is called the box set. A box set usually contained three walls and perhaps a ceiling. It was, and still is, used to represent interiors. Striving for realism led to other changes in scene design as well.

FIG. 8.1
John Lee Beatty’s backing wall drafting for Neil Simon’s The Odd Couple.

The raked stage was done away with in favor of a level stage floor. To ease the floor into the backdrop a scenic ground row was added to the design. This ground row was two-dimensional and usually had a cutout design on the top to help the transition to the drop. Flying was curtailed, as this didn’t fit in with the new “realism” mandate.

It was alright to put scenery on casters; this was not considered supernatural. So rolling platforms and revolving stages became very popular. The revolving stage allowed for another kind of set change. You could set up three box sets on the stage, with their backs all touching. Then revolve the stage from one to the next to the next—a complete set change in mere seconds. This had never been seen before, and became the newest kind of theatre magic!

The box set brought about an interesting development in the acting style of the day, which in turn influenced future design as well. The fourth wall became a convention of acting within a box set where you create an imaginary wall to complete the room. There is no recognition that the audience is in attendance. As a result, the act curtain began being used to close off the stage from the audience prior to the show. This created an atmosphere of catching the action in progress, making the audience a non- participating observer.

As theatre buildings became more technically able, variations in the normal way things are done started to pop up in standard use. One example of this is the tab curtain. Picture a normal masking leg in the wings. Now, take that leg and turn it 90 degrees so it hangs upstage to downstage. This is a called a tab and is used to mask the wings from the audience. Many other variations are created as needed. Don’t feel the need to be locked in by what you see in this book or any other!

FIG. 8.2
John Lee Beatty’s drafting for the kitchen walls of Neil Simon’s The Odd Couple.

SCENIC DESIGN PROCESS

Now that we have this perspective on a bit more of scenery history, let’s talk about the scenic design process a little more in depth. We discussed in Chapter 2 about the phone call, meetings, research, and sketching. Part of this process is for the designer to complete color renderings or models. Keep in mind that depending on the situation, time frame, and complexity of the design, parts of the process may be expanded or cut completely.

At some point, the director, producer, or someone who controls the aesthetic and/or money will approve the design. This is the point when the designer and however many assistants are hired get to work on the pack of drawings. Let’s break down the pack of drawings, as this will be essential to ultimately getting the show built. A pack of draftings consists of the following as appropriate, since productions vary so much:

•   Cover sheet with index of drawings.

•   Sketch or model photos.

•   Ground plan.

•   Section.

•   Deck plan.

•   Elevations.

•   Details.

FIG. 8.3
Scott Pask’s drawing for The Wedding Singer’s club wall hanger.

Each of these drawings, or groups of drawings, can be expanded as needed by the design. If there is a complicated deck with a lot of automation, there may be several drawings to the deck alone. It is for the designer to decide what drawings are needed to communicate with the scene shop. What we have been talking about are designer drawings. Let me explain.

Designer drawings are drawn, as you would expect, by the designer. They are meant to convey the artistic vision of the designer. They are critical to informing the shop what the designer’s ideas and goals are. The shop must look at these drawings in order to determine a price, but more important, to begin building the set. Often a scene shop will not get a full pack of drawings. Sometimes they will get a list of the units that make up the set, sometimes they will get a partial pack of draftings, sometimes they will get a model and only a model. Obviously, the more information they have the better chance they have to properly evaluate the design.

Let’s talk about models for a second. A scenic model is a 3D miniature version of the completed set design. The model will be in a scale, usually ¼ or ½ inch, depending on the size of the theatre. Making the model this small allows for easier portability to meetings. Some designers prefer to work in three-dimensions instead of two. If the design is more sculptural than painterly, it can often give the director a better sense of the finished design. Remember in Chapter 5 when I talked about semantics and the need to put ideas into a visual form so that everyone could understand it better and more accurately? Well, the bottom line is that any tool at your disposal can be used to convey ideas. Quick pencil sketches on a napkin are as valid as a sketch, rendering, or model. The only mandate is that visual ideas are conveyed in a nonverbal way.

Before any building can be done, the shop must evaluate the designer drawings and determine the best way to interpret the drawings and translate them into wood, metal, paint, and whatever other materials are called for. Before the shop workers can begin to build the set they must first create their own set of drawings. These are known as construction drawings. Construction drawings differ from designer drawings in that they are much more technical. For example, a designer drawing of a deck may show the outside shape and dimensions and materials choices. The construction drawing will break the deck into manageable pieces to be built separately and then put together during the load-in. This is a critical phase, as pieces of scenery will need to fit out the door of the shop, into a truck, and in the door at the theatre. These doors are all different sizes. Materials will then be identified and lists will be made of what is required for each piece.

A professional scene shop can greatly vary in its organization from a college scene shop. Professional shops usually have more people and are broken up into smaller departments. Let’s look at Hudson Scenic Studio, Inc. for a moment, as they were kind enough to give me access to their shop during my research for this book. I am grateful to everyone there for their willingness to share their time, energy, and craft with me.

Hudson is one of the largest full-service production and scenic fabrication companies serving the professional entertainment community. They pride themselves on providing support from preproduction planning and budgeting to installation with in-house engineering, fabrication, scenic art, and automation departments performing all the related services needed to make any project a success. Their clients include producers of theatre, touring productions, television, casino, themed environments, corporate presentations, live advertising, commercials, theme parks, industrial theatre, theme restaurants, and various special projects that involve many types of specialty construction.

Services that Hudson Scenic Studio, Inc. can provide include:

•   Production design planning and budgeting.

•   Project management.

•   Technical supervision and installation.

•   Design engineering services.

•   Custom scenic fabrication:

    Carpentry and stage craft.

    Metal fabrication.

    Scenic and backdrop painting.

    Sculpting.

    Automation, motion control, and mechanization.

    CNC router design and fabrication.

    Set electrics.

    Soft goods and traveler track systems.

    Rigging system design and installation.

FIG. 8.4
Hudson Scenic’s shop drawing for The Wedding Singer’s club wall hanger.

The process at Hudson can be broken up into very clear steps. The first step is of course to get the job. A designer will present documentation as we’ve discussed earlier. Hudson will assign a project manager who will evaluate the design and begin assigning dollar amounts to the different parts of the scenery. A proposal will be put together for the client, showing a total price to execute the design. This may be approved right away, or more likely there may be alterations or cuts to the design to fit within budget. Eventually, everyone will agree and the proposal turns into an actual job!

The project manager will then create a job order; this is internal paperwork for use at the scene shop so that everyone working on the job will have a frame of reference for the entire job, not just the piece they are working on. A kick-off meeting will then be scheduled. This is one of the most important parts of the process. From the production team the designer and the technical supervisor will be present at this meeting. The technical supervisor is responsible for everything technical on the production. This includes scenery, lighting, rigging, etc. This person is with the show from the first meetings through opening night.

FIG. 8.5
Hudson Scenic’s shop drawings for The Wedding Singer’s Rosie’s porch framing.

Hudson will now assign an internal production manager to the project. This person will create a flow chart for all departments to use that includes assignments of different units as well as a time line from the very first day through trucking the scenery to the theatre. These flow charts are updated continuously as schedules may need to shift within the shop. Details that go into the flow chart are which departments are needed for any given unit, when the department will be available to work on the unit, and when materials are arriving. Also of importance are the scenic pieces that need more than one department’s attention. If this is the case, scheduling may be even tighter. Materials have to be ordered and the crew has to be hired. The goal, obviously, is to have the materials arrive before the crew!

FIG. 8.6
Hudson Scenic’s shop drawings for Neil Simon’s The Odd Couple, Wall A.

FIG. 8.7
Hudson Scenic’s production flowchart for The Drowsy Chaperone.

Let’s talk about the departments within a scene shop. Now remember, in smaller shops jobs can get combined. This doesn’t mean that the task goes away, it just means that one person is doing lots more work! At its most spread out and organized the departments of the scene shop are broken down into eight different categories: engineering, carpentry, iron, automation, electrics, rentals, scenic artists, and trucking. There are plenty of blurry lines between the different departments based on the fact that it is rare for a piece of scenery to be fully fabricated within one department. Let’s go through the departments, one by one, and see what each does.

Engineering is the first department to begin work on a job. Let me interrupt by saying that there used to be a position called the layout man. This person would look at the drafting and sketch out the design in full scale on the actual wood to be used. Then he or she would cut out the wood. It was that easy. This way of working has changed, and the position has evolved into that of an engineer. The engineer will draft the construction drawings and much, much more! The engineer will draft any automation and plan out the control for it. This often entails a custom control system where software programming is required. The engineer will also develop and plan the set electrics. Research of new products is another function of the engineering department.

The carpentry shop is filled with … carpenters! What a surprise. They deal with everything made of wood—measuring, layout, cutting, fabrication, everything. A fairly new addition to the shop is a CNC router. This is a very cool piece of machinery. It is a router, which we will talk about later in the chapter. Basically routers cut using different size and shape bits. Molding can be created with a router. Got the idea? Well this router is huge and computer-driven. So basically the carpenters make a CAD file, load it into the router, and the cutting begins. The best part is that the level of accuracy is amazing.

The iron department is the same as the carpentry department; only instead of using wood they use metal. Steel and aluminum are two metals used in the shop. Welding becomes an important skill and there are major differences between welding these two metals. Measuring, lay out, cutting, and fabrication are all dealt with. Today’s designs seem to be calling for more metal and less wood. This has to do with the current aesthetic as well as the structural needs for these designs.

The automation department is next in line. Automation deals with anything that moves. That may sound simple, but in today’s theatre it is anything but! The deck is not the only part of the set that may contain automation. There may very likely be flying elements. Any of these ideas may require automation. And here is the key: All of the automation today is customized. There isn’t such a thing as a standard deck with standardized automation. Often pieces and parts need to be fabricated for a specific situation. A full machine shop can be a handy thing for just this reason. This is what the automation department specializes in.

Next is the electrical department. All set electrics are wired at the scene shop. That means anything that lights up and is built into the set will be dealt with at the scene shop. This doesn’t include the simple table lamp. The props department handles that, which often ends up as a sub-department. If a piece of scenery lights up from within, lighting fixtures are built into it, then the electrical department is responsible for all the wiring to make it work. If a unit requires dimmers or ballasts (more on both of those in Chapter 11) to travel with the scenery, this is also handled here. Now here is something you might not have thought of. If the automation department needs to control a piece of scenery or put a control unit into a piece of scenery, it’s going to need power. You’ve guessed it! The electrical department handles that as well.

Here is the interesting twist: the rental department. It’s a scene shop, why do they have a rental inventory? Hudson rents some soft goods (legs, borders, curtains) as well as personnel lifts and some lighting equipment. In addition to straight rentals, the shop also rents some of the automation to shows that they are constructing. Shows basically have two options: They can buy all the equipment for the automation design or they can rent certain portions of the equipment that may be more expensive to purchase. Shows can rent the automation equipment whether are not their scenery is being built at Hudson.

Next we move on to the scenic artists. Scenic artists paint, right? Well they do paint, and so much more. Scenic artists begin by sketching on paper what they will draw. It is then transferred to the actual scenic element before they begin to texture, sculpt, and paint. They create a sample for certain techniques to show the designer before completing the real piece.

The last department is trucking. You may think that this shouldn’t be listed as a department. Well, without trucking the audience would have to come to the scene shop! So yes, trucking is important. The trucking department loads the trucks and then drives them to the theatre. This department is also utilized during the overnight shifts to help move large units into a position where they can be worked on.

BUILDING TECHNIQUES

This section is all about the building techniques currently in use today for the standard scenic elements. What do I mean by standard? Well, there are so many variations in today’s designs that the best we can do is to learn the basic pieces. Once we have those established you can combine them, or abstract from them, to create the specific design you need to accomplish. There are three basic divisions: floors, walls, and ceilings. Sounds simple, right? Well here goes!

The disclaimer: I am not an engineer; I am a designer. I draw pictures and then give those drawings to someone with specific training in rigging and engineering. The techniques I will describe below are the “standard” practices in use today. Just remember, always, always consult a technical director to confirm all projects!

Scenic floors have a wide range in today’s theatre productions. The simplest design is to use the actual floor of the theatre as it exists. The next step up is to paint that floor with a design appropriate to the show. This kind of painting will be dealt with in Chapter 9. Anything beyond these two examples requires the building of platforms, ramps, and stairs or possibly complete decks. Let’s take a look at these one at a time.

Platforms are a mainstay in design. They’ve been around for a long time, and there always will be a use for them. Platforms are small sections of flooring that add height to the existing stage. A standard size for a platform is based on the sizes of sheet lumber. So think of a 4′ × 8′ platform as a stock size. A stock size is one that can be used many times in different shows. It is good to build up an inventory of stock size platforms to be available for quick build schedules.

FIG. 8.8
John Lee Beatty’s drafting of the floor layout for Neil Simon’s The Odd Couple.

The framing lumber used for a platform is determined by the overall size of the platform as well as how it will be used. 1 × 6 or 2 × 4 dimensional lumber are the common choices. Always check with the technical director to confirm what type of lumber should be used. Once you have cut the lumber to the proper sizes, the frame is glued and either screwed or nailed together. The difference between screwing and nailing has to do with overall strength. Gluing can be eliminated if you have plans to take the platform apart and save the lumber after your show. Make sure to keep it square as you go using a framing square! A plywood top, usually inch, is then glued and screwed/nailed to the frame. Ramps are framed out the same way; the difference is when you attach legs.

Legs for platforms and ramps have a couple of different styles. Older-style legs are made from 2 × 4s. Newer styles use 2 × 4 or 2 × 6 lumber, two pieces making a right angle. This is a very strong configuration. Legs are either screwed, nailed, or bolted onto the platforms. They are usually not glued since the legs can then be removed to make storage easier.

Stairs are more complicated. The first thing that has to be determined is the rise, tread, and overall length of the stairs. Then stringers, or the side supports, must be cut out of wood. The easier solution is to buy a pre-cut stringer from the hardware store. If that isn’t an option for whatever reason, the usual stringer is cut from 2 × 12s. You will need one stringer for each side. If the width of the stairs is wider than usual, or will need to support very heavy weights, you should also consider adding center stringers.

The next step is to cut the treads and risers, if they are also a part of the design, to the correct length. Lumber for these are often 1 × whatever size is appropriate for the design. Assembly is relatively simple. The treads and rises are glued and then screwed or nailed onto the stringers. The tricky part is that you can’t lay the stairs flat until you are done, so extra hands are a must!

FIG. 8.9
A platform under construction at Hudson Scenic.

I’ve mentioned a complete deck. Let’s talk about that for a moment. Think of the deck as a complete replacement for the existing stage floor. The stage is completely covered by a series of platforms that interlock to form a new surface. Built within the deck is often machinery for moving large scenic elements, electrics as required, and any other elements that contribute to the overall design, which we want to hide from the audience’s view.

Walls, doors, arches, and windows will be our next discussion. As always, there are huge variables based on the style and design. Let’s address the simple ideas with the knowledge that you can add things like molding and decorative items as required.

Look around the room you are sitting in. Really look. What do you see? Start to break it down into smaller elements, as if you had to build a duplicate copy. Walls are vertical surfaces that usually start at the floor and go up to the ceiling, or at least the perceived ceiling. In the theatre, walls are divided up into manageable sizes. These wall pieces are called flats. The framing for flats is a bit different than for platforms. And to complicate things further, there are two different kinds of flats: soft flats and hard flats. We’ll discuss the differences as we learn how to build them.

Soft flats, which are the traditional theatre type, have stiles and rails to form the outside frame. Rails are on the top and bottom, and stiles are on the sides. This frame is traditionally made from 1 × 3 lumber. The rails and stiles are laid flat, edge to side. Corner blocks, which are triangular, and keystones, which are rectangular, are the next step. They are made of ¼″ sheet lumber. Traditionally, the wood has been Lauan. This is a generic term for tropical wood that comes from Southeast Asia (see Chapter 7). These forests are now endangered, so more and more regular plywood is being used as a replacement.

FIG. 8.10
A close-up of a platform leg under construction at Hudson Scenic.

FIG. 8.11
Stair diagram showing all the different part’s names.

Corner blocks and keystones are used to connect the rails and stiles. Use glue and screw or nail the frame together as shown in the figure on page 207. Make sure the wood grain of the corner block and keystones runs in the opposite direction of the joint between the rails and styles. Also note the pattern for nailing, as it is very important to make a good tight bond while the glue dries.

The last step for a soft flat is to cover it. Use either lightweight or medium-weight muslin. Cut a piece that is approximately 2 feet larger than the frame, both in height and width. Lay down a drop cloth. Then put the frame on the drop cloth with the corner blocks and keystones facing down. From here on, have all your supplies ready, as the next steps need to be accomplished very quickly. Brush glue onto the frame’s styles and rails. Now lay the muslin over the glued frame. Begin at the top or bottom and staple the muslin to the frame, starting in the center, while pulling gently to eliminate any fullness. Do the same on the other end. Then work the two sides simultaneously.

FIG. 8.12
John Lee Beatty’s drawing of stair and railing details for Neil Simon’s The Odd Couple.

FIG. 8.13
Hudson Scenic’s shop drawing of Rosie’s porch receivers and trap door for The Wedding Singer.

You want the muslin to be tight, but not taut. Why? Because the next step will add even more tension to the fabric and you don’t want it to rip. Next, mix a small bucket of glue with water in a ratio of 1:5. Brush the glue/water mixture everywhere on the muslin. Make sure to use a figure-eight stroke to get the glue into all parts of the fabric’s weave. The flat must now dry completely. And I mean, completely! Once the flat is dry, use a utility knife to cut off the excess muslin, using the rails and styles as guides.

Hard flats, sometimes called Hollywood flats, are traditional in television but becoming more standard in theatre, have styles and rails just like a soft flat. This frame is traditionally made from 1 × 3 lumber, the difference being that the wood is laid on edge to assemble it. Corner blocks and keystones are not needed. Use glue and screw or nail the frame all together as shown in the figure below. Again, make sure to use the pattern for nailing, as it is very important to make a good tight bond while the glue dries.

The last step for a hard flat is to cover it. Use ¼″ sheet lumber, trying to avoid the use of Lauan, as we’ve discussed before. Glue the top of the frame before proceeding. Lay the sheet of wood on top of the frame, squaring the wood and frame to each other. Nail or staple the sheet to the frame. That is it. Your hard flat is done!

There is a hybrid style of flat, where you frame as if you are making a soft flat but then cover it as a hard flat. This style can be used when space is at a premium or if the design simply requires this style.

Doors, arches, and windows are the next possibility to consider. Obviously all of this is guided by the design and drawings. Now, here is the scoop. It’s easy to put in an opening, as long as you have a good frame to start with. You will need to add crosspieces with the outside frame to create the opening as required by the design. Use the same type of lumber and attachment as we did in the outside frame. It’s really that easy. Take a look at the next two figures.

One quick note about the arch. There are many different styles of arches: Roman, Tudor, and Gothic, just to name a few. Make sure to follow the designer’s drawings to create the correct shape for the arch.

FIG. 8.14
Hudson Scenic’s shop drawing of a flat for Neil Simon’s The Odd Couple.

FIG. 8.15
Soft flat diagram showing all the parts and names you will need to know to build and use a soft flat.

FIG. 8.16
Hudson Scenic’s shop drawing of hard flats for Neil Simon’s The Odd Couple.

Let’s talk briefly about ceilings. OK, so they are overhead and they connect the walls. Sometimes in theatrical design a ceiling or part of a ceiling is required. Depending on the design, often the ceiling is divided into smaller pieces and built as either soft or hard flats. The only difference is in how they are hung. That will be discussed in Chapter 10.

FIG. 8.17
Hudson Scenic’s shop drawing of window for Neil Simon’s The Odd Couple.

FIG. 8.18
Hudson Scenic’s shop drawing of wall J for Neil Simon’s The Odd Couple.

FIG. 8.19
Hudson Scenic’s shop drawing of wall N for Neil Simon’s The Odd Couple.

FIG. 8.20
John Lee Beatty’s drafting of the wall arches for Neil Simon’s The Odd Couple.

FIG. 8.21
Hudson Scenic’s shop drawing of the wall arches for Neil Simon’s The Odd Couple.