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Are the costumes linked in the two different plots? The asylum section is much more colourful… autumnal colours, oranges and reds, warmer colours really, while the castle is quite stark and has a lot of blacks and grey, whites and silver with Beatrice-Joanna standing out in her fuschia, but generally the slightly more comic characters having more vibrant colours in their costume. Stephen has mentioned how important class is in this play. How have you represented status in costume? I’m playing a little bit with the chaps’ costumes… the father might be in period breeches, while the younger guys perhaps might be in jeans and a doublet. Just as you might see in the street where some might be wearing pin-stripe suits, others are wearing casual cottons and denims, I’m using a little of that fabric language in the costumes to demonstrate hierarchy within the play. Mark Bouman’s design and inspiration for DEFLORES 16
INTERVIEW WITH PAUL WILLS Set Designer So, how did the design concept of a Victorian madhouse come about? I think my initial response, after reading the play and going to see Stephen, was for this very derelict, crumbling building. The play seemed to make sense in that world that was very distressed and old, and broken down, and because there’s the palace and also the madhouse, we were trying to find a world that both of those could kind of exist in. A big old mad Victorian lunatic asylum seemed an apt way of going about things. How does the design facilitate the two separate plots? Through various elements: the grandeur of the set is encapsulated in the tall walls with a series of pillars along the back wall. Through lighting, you can transform the space into being quite grand and quite epic, like a palace, and we have lots of windows that we can bring shafts of light through that’ll work for a palace. The squalor of the madhouse will be shown by bringing out the dirty, kind of rusty broken down elements of it and the caged door, and the locks on the door. There’s lots of talk of alley ways and passages and labyrinths; and to have all the doors on the set and corridors that lead off into darkness just kind of seemed to make sense to the design. Some aspects of the set which stand out are those which are out of date; what’s the idea behind that? I think Steve was quite keen, quite early on, to make the figures exist in the set, as almost ghostly apparitions of a time gone past, which is why there’s a slight contradiction between the set, which is Victorian and the costumes which Mark is doing, which seem to juxtapose each other. They feel that they once inhabited that space but they don’t really belong there. The set appears to be quite a solid structure. How does it transform? Part of the set design by Paul Wills Because there are so many different walls and panels; we’ve put lots of windows in the space and lots of practical light bulbs, Ben (Lighting Designer) can really transform the space because every different surface he can light in a different way. 17
Page 1 and 2: 25 Short Street London SE1 8LJ T: 0
Page 3 and 4: CREATIVE POLICY ETT is England’s
Page 5 and 6: STEPHEN UNWIN ON THE CHANGELING The
Page 7 and 8: THOMAS MIDDLETON (1580-1627) Middle
Page 9 and 10: JACOBEAN DRAMA The term ‘Jacobean
Page 11 and 12: MADNESS AND SANITY IN THE 17 TH CEN
Page 13 and 14: [ACT 2 SCENE 2] BEATRICE-JOANNA ...
Page 15: INTERVIEW WITH MARK BOUMAN Costume
Page 19 and 20: INTERVIEW WITH TIMANDRA DYER Produc
Page 21 and 22: The Role of Women Questions: • Do
Page 23 and 24: ASSISTANT DIRECTOR’S ESSAY by Sub
Page 25 and 26: enough, she doesn’t blush, whatev
Page 27 and 28: Terrence But it’s the unmarried o
Page 29 and 30: PLACING THE TEXT IN CONTEMPORARY LA
Page 31 and 32: 2. WRITING EXERCISE In pairs, spend
Page 33: FURTHER READING The Changeling, by

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