Gradually updating a classic
Deepa Bharath
It’s a holiday staple -- just like gingerbread men, mistletoe and
Santa Claus.
“A Christmas Carol” is back again at the South Coast Repertory
Theater for yet another holiday season -- its 23rd.
The show, adapted by Jerry Patch in 1980 from the Charles Dickens
novel, will retain much of its original content. One little
difference is bound to be noticed by the audience -- most members are
loyal fans of the show who come back every year.
They will likely spot the work of Tom Buderwitz, the show’s new
set designer. The artist’s subtle representation of Victorian London
can be seen in the black and white drawings on canvas that frame the
Segerstrom Stage.
Buderwitz, a freelance designer based in Los Angeles, will
redesign the set not all at once but piece by piece with each passing
year.
“It’s a great challenge,” Buderwitz said. “They have a design that
works well, that has worked well for many, many years.”
His mission is to give it a breath of freshness, retain the best
and embellish it to make it better, he said. Buderwitz takes guidance
from veterans like John-David Keller, who has directed the play every
year it’s been staged.
“I figure out what they want to see,” Buderwitz said. “Then I use
my design instincts to give it a fresh perspective.”
This year, he has done about 25% of what he has set out to do.
“It now has a framework or a shell,” he said. “The rest of it is a
three- to four-year project.”
The drawings that adorn the Segerstrom Stage now are actually
period prints by renowned artist Gustav Dore. Buderwitz took those
prints and altered their size and coloration digitally and laid
computer artwork on top of the prints. Then he got them printed on
canvas and had them mounted on the stage.
“The goal was to do something less literal, yet create the feeling
and flavor of London,” he said.
Buderwitz stepped right into the shoes of Cliff Faulkner, who
designed the original set in 1980.
The new drawings have expanded the scope of the audience’s view of
the stage, Keller said.
“Earlier, the audience’s eye would stop here,” he said, pointing
to a part of the stage way before the exit. “Now their view is side
to side. You’re taken right into the exit. Some of these drawings
even go off stage, and that’s great.”
Keller said Buderwitz has taken on a considerable challenge.
“It’s easier to redo the whole thing instead of redoing parts of
something,” he said.
Next year, Buderwitz will roll up his sleeves and approach the
interior sets.
“The set I’m inheriting here is a very strong and traditional
one,” he said. “I’m trying to take it to the 21st-century mode while
preserving its essence, its flavor and Victorian charm.”
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