We Didn't Mean To Go To Sea Rosie Alabaster - Designer

(1) What were the specific challenges in designing the set for SEA? Was a real boat considered?

I think Ivan did consider a real boat at first. This would not have been something I would have thought of because then I would have had nothing to design! Real boats are quite cramped anyway so not very conducive to theatre. I suppose a cross section had occurred to us but we quickly realised that this staging would not be very dynamic and always limit us to facing the same direction. In the end we went for a circular shape to emphasise the fact that the characters are lost, and at times spinning around in the fog. The idea in part came from the beautiful bronze compass onboard the Nancy Blackett. I think the problems really came in later when the actors had to get to grips with finding a logic of a boat that faces different directions. Very tough on them I'm afraid!

(2) What was the process like, from first meeting to final design?

It normally takes 4 or 5 meetings with Ivan, several readings of the script and a lot of sketching before I am ready to make the model in its final form. I usually make little sketch models out of old bits of cornflakes packets for the first few meetings so that Ivan can tear them up and try out new ideas. it's important not to be too precious about early ideas. By the time the actors begin rehearsals, I have usually been working on the designs for 2 or 3 months. It always takes much longer than you think.

(3) What research did you carry out for this project?

Ivan and I went to Pin Mill and had a good look around the coastline described in the book. Of course it has changed since the development of container ships but you still get the atmosphere and geography. I studied the charts and tried to plot their journey as best I could. This just gave me a better understanding of the geography of the play. We were also lucky enough to get access to the Nancy Blackett. This really emphasised the compact nature of the boat. Cubby-holes and narrow bunks and bronze cleats were all wonderful details to try and incorporate into the design. I also looked at the illustrations in the book, 1930s family photos and artists of the period such as Eric Ravilious and Barbara Hepworth.

(4) What were your thoughts about costume?

In some ways I didn't actively have thoughts about them until I began drawing. I did research and looked at the actors but the ideas tend to come once I put pencil to paper. I tried to let the actors' appearance steer my thinking. I wanted Roger to look like his mum had dressed him and then he had made his own mark afterwards, pushing down a school sock and pulling out his shirt. John on the other hand is very much like his father so it made sense for him to look more sensible and grown up. The same really applies to the girls, Susan being far more motherly in terms of appearance. I also tried to carry through colours or types of clothing that would make them look like they belonged to the same family. When the actors transform into another character we decided that the addition of a hat and not much more solved the problem quite easily.

(5) What are the particular challenges you have to face when designing for a touring show?

Touring productions need to be installed quickly by a small crew and the actors and then very often dismantled immediately afterwards. This takes a huge amount of effort and so this needs to be taken into account. I have to say though, that every time I try and think of an easier way for it to assemble, it ends up being far more complicated in other ways. The trampoline designs for example were meant to be lightweight and easy to assemble but they were hellish to have made in the first place! I did draw plans of how it could be broken into elements but I rely quite heavily on the set builder to come up with a simple way of constructing a set that can be easily assembled and Penny and Steve with their touring knowledge. I have never been on tour with one of my sets so I am a little naive about certain things.