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Everyone remembers the handkerchief in Othello and it’s hard to picture Linus without that blanket. Props can add a lot to creating the world of the story that gets told on stage. Check out what Michelle LeRoy, props designer, for Alice & the New Wonderful, had to say about creating the props for the show.

Q: How did you approach designing the props for “Alice & the New Wonderful” in order to bring both the fantastical world of Wonderland and the real world to life on stage?

A: For me reading through the script a couple of times, seeing the inspiration from the director, and then meeting with all the other designers helps to inspire the direction. Once I knew the aesthetic of the Heights vs the Barrens (real world vs “Wonderland”) informed the choices of color and design. For me, everything, even the slightly fantastical stuff, was still grounded in reality.

Q: Can you talk about any specific props that you’re particularly proud of creating for the production and what role they play in the story of the play?

A: I’m particularly proud of the student’s desks. I don’t want to say too much and give away anything. It was one of those moments where knowing the director wanted some wow moments and getting a note about having a ballpark-esque vendor tray for desks. I just combined the two. I’m also particularly proud of the detailing work Livia, the young technician assigned to props, created on many of the pieces. So look out for things like the Watermelon, detailing on the painter’s backpacks, and the radish salad to name a few.

Q: How did you work with the actors and other members of the production team to ensure that the props were used effectively in conveying the two worlds of Alice?

A: For one there is a lot of cross-over between set, costumes, and props. For example, while the bed is a set piece the bedding was something I worked with the Set Designer on. The mannequins in Maddie’s shop were a total collaboration with the costume designer to make the shop and the costumes cohesive. I also took color inspiration from the projection design. I also sought out inspiration from the young technicians. This show is their world and their voice is invaluable. Props designing has to be collaborative to make it cohesive.

Q: What advice would you give to young people who are interested in pursuing a career in props design, and how did you get started in this field yourself?

A: I have designed props off and on during my career. Most of my 23 years have been as a Stage Manager. It was college that exposed me to all the different aspects of design, directing, performing, and stage managing. For me, that’s what led to my success as a stage manager and my ability to design props. For those that are interested in pursuing props as a career, I would tell them to start making. Maybe make an accessory for a Halloween costume or a decoration for your room, think about the world you want it to live in, who is using it, what would you make it out of, and how would you make it. Continue to learn everything from crafting skills, how to build and use tools, collaborative skills, finding how-to’s on YouTube, taking design classes, learning about new materials, learning about new technology, finding ways of working with props designers at local theatres, learn how to design for other departments of theatre/film, find mentors, and make your own way.

We’re pulling back the curtain to give you a sneak peek into the production process. Over the next few posts, you’ll hear from members of the cast and creative team as they prepare for the world premiere of Alice and the New Wonderful. Let’s set the stage. We had a chance to sit down with Brian Kessler (BK), Scenic Designer for Alice and the New Wonderful. Check out how he took the world of Alice from page to stage.

Q: What inspired the set design for “Alice & the New Wonderful” and how did you approach the task of bringing the story to life visually?

A: So this design was a very different approach for me versus my normal design process. For this show, we read thru the script as a production team and would stop every time we got to a change and discuss what our thoughts were and what we saw.

So having this unified vision from the start really made the process much easier as we were all on the same page. From that point, it became about how to create pieces that could be in this plain drab world but also be used if fun colorful ways for other scenes knowing space limitations at the DFT. which is how most set pieces are used in both worlds of the show.

Q: How did you collaborate with the production team to ensure that the set design complemented the overall vision for the show?

A: This process of me having Asana (which one day I will fully understand) help each other see our thoughts and visions really helped with the collaborations in the production team. From our first meeting, we walk through the show and I feel every scene is a compilation of everyone’s thoughts and ideas

Q: Can you talk about any specific challenges or obstacles that you faced during the set design process and how you overcame them?

A: One of the biggest challenges/obstacles to me was that we all know the story of Alice and Wonderland and how magical Wonderland was. Finding new ways to bring that magical feel into this production.

Q: What is the most striking or memorable aspect of the set design for “Alice & the New Wonderful” and why?

A: For me, it was really when I was doing the texture paint treatments on the set pieces in person. When doing the computer renderings I really got into the different ways layering spray colors looked. With a computer, it is very uniform and when doing spray treatments in person it is so random and easy to manipulate the colors.

Q: How did you incorporate the theme of reintegration into the real world into the set design, and what choices did you make to convey this visually?

A: From early on I wanted to find ways to make as many set pieces appear in both worlds. A lot of them do but each one has a different treatment but still bares resemblance to the other world. Like brick walls that have slanted bricks or Alice’s bed that is all a display in Maddie’s.

Q: Can you describe your creative process when designing a set for a theatrical production and how it differs from designing for other mediums?

A: Most of my design experience is in theatrical productions, however, from the little I have done a lot of the process is the same. First, you want to get to know the space and content of the project and then from there, it’s going into research looking for different imagery that speaks to your thoughts, such as fabrics, textures, colors, and patterns. then it becomes about bringing your visions to life.

Check out Alice & the New Wonderful at the Detroit Film Theater May 20-21, 2023.

Meet the talented youth of a local Detroit ensemble! – We can all agree that spaces of creativity are great to allow children to learn and grow, and one local ensemble, Mosaic Youth Theatre, is doing just that.

DeLashea Strawder is the executive and artistic director for Mosaic Youth Theatre. Strawder said “Mosaic really uses the arts as a tool to earn mentoring relationships with young people.” She added that the program helps, “…to holistically support them providing them with opportunities to connect to professional artists and mentors.”

For youth interested in joining the ensemble, Strawder said that auditions are every summer and fall, and that the ensemble offers “programming year-round.”