When designing the set for Kalopsia I wanted to create a space that emulated that of an average office, but also be capable of smoothly transitioning between this space and the delusional space of each character. A ladder being turned into a train track and later on into a rocket, the re-positioning of desks bringing them together centre stage and covering them with a map to create a world war two army headquarters. I aimed to create the extraordinary of characters’ delusions, within the ordinary and dreariness of the workplace.

Lighting, sound and props added greatly to this effect, particularly with the space scene, with the strong use of UV bars, and also the UV paint used on the stars costume. As is true of props and costume in the war scene, with characters coming on in military helmets, the map and soldiers being laid over the two central desks and the old fashioned phone being used for the communications desk. All these elements worked superbly well in creating the line between reality and delusion.

Throughout the performance we wanted transition of scenes to be very slick, but also not hide anything from the audience. We have no blackouts in the piece and so each movement of set had to be done with purpose. This was made much easier by the office chairs and desks I managed to source, all of which being on wheels.

For the breakout of the silent film my character Tom had to remove the ladder positioned centre stage as the train tracks. To get around any awkward reason behind moving the ladders, I simply picked them and my toolbox up and begin making the ‘ladder of success’ which was to be used immediately after Louisa’s presentation.

In other instances the set change needed to replicate the emotion or objective within the scene; going into the war scene (Jo’s delusion) the change needed to be regimented and orderly to create a military feel to the scene we were entering into. This urgency and precision was then removed in the exiting of this scene; Jo being brought back to reality by her father’s phone call, the mood and atmosphere of panic needed to be dropped. Therefore the tables and props where repositioned in a slow stylized manner reflecting Jo’s emotional state when on the phone.

This was also the case with my character Tom’s delusion of going into space. The scene going into this Tom being ridiculed by Simon for his position in the office and his dreams of becoming an engineer, Tom needs to fix a light bulb. In my placing of ladders and getting of tools Michael, after leaving a Mars bar removes one of the desks. The second was removed by Zoe after reminding Tom of what to do when she hands out the result of the promotion. When laying out a dust sheet I go onto push the two remaining office chairs offstage as they are in the way of the job at hand. It’s at this point that I re-notice the Mars bar, reminiscing about my childhood I go onto dress the ladders with the dust sheet creating a make shift rocket. The whole transition is very slow in showing Tom being alone with his thoughts. This is the same in coming out of the delusion in that Tom brings himself back down to earth before going back to his book to study. This is then interrupted by Zoe coming on with the ‘board of banned words’ and asking for help. The interruption and break in the stylised journey back to reality worked well in showing the elements of Tom’s life that where in the way of him trying to better himself.