SLSC Twelfth Night, Act 1: Programme

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Twelfth Night is the story of Shakespeares Mulan.Our heroine Viola takes on the role of an eunuch namedCesario in order to make her way in Illyria, where shelands after being shipwrecked. There, comical complica-tions arise resulting from her choice to go incognito as aboy, and we also get to meet some Illyrians, who mightactually seem like characters we know in real life.

Its one of Shakespeares most accessible plays, and wefound it quite fun with its motley cast of characters tomake it into a Second Life production for the enjoymentof a Second Life audience. For our 2008 production, wehave subtitles available in English, German, and Italian.

We also present our first production using multiple setswhere we jumped through quite a few burning hoops tomake the set changes feasible under high audience loads.

The play is not set in a historic location, but, rather, in thefictional land of Illyria. We were thus not required to cre-

ate based on historical motifs, as we had to with Hamlet.Thus, the general look of the production is of the genericpast: the outfits procured do not necessarily exist in asingle era or location, nor do the sets.

But, as youd hopefully see, the SL Shakespeare Companys

tradition of visual and theatrical extravagance still existsin this production.


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4 TWELFTH NIGHT: ACT 1A SL SHAKESPEARE COMPANY PRODUCTION

Fall Season 2008

Dramatis Personae

* Andrew, Viola ............................................................. MadameThespian Underhill* Captain, Duke, Malvolio .................................................................... Joff Fassnacht* Curio, maria ..................................................................................................... Ludo Merit* Feste ........................................................................................................ Prospero Frobozz

* Olivia ......................................................................................................... Maedin Tureaud* Toby, valentine ................................................................................... Lorne Harlequin

Director: Ina CentaurVoice Director: Enniv ZarfMusic: Thom DowdSet Design: Ina CentaurParticle Effects: Klyks Klees

Internationalization:Paradise Tavoularis (lead)German: Paradise Tavoularis; Italian: Micalita Writer & Betty Breen

Audience Tutor & Silent Actor Director: Yuu Nakamichi

Silent Actors: Carita Marama, Caswin Hax, Duke Barracuda, Eski Howlett,Kohana Yiyuan, Lasch Avro, Lorne Harlequin, Yuu Nakamichi (S. Director)

Dynamic Camera & Storm Technician: Prospero Frobozz

Global Lighting Technician: Maedin Tureaud

Set Placement Technicians: Lorne Harlequin, Ludo Merit, Maedin Tureaud


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5SET DESIGN AUXILIARY* ASUKA MARTIN OF DERNIER CRI* BARON GRAYSON OF RELIC* BETTIEPAGE VOYAGER OF BP** CARTBOY KITCHENSINK OF VIP VERY IMPORTANT PIXELS

* ELIKAPEKA TIRAMISU OF ETD ELIKAPEKA TIRAMISU DESIGNS* CEL EDMAN OF PIXELLAB* DONPAIN BABENCO LIBRARY SCULPTY* INA CENTAUR OF INA CENTAUR ARCHITECTURE* KLYKS KLEES OF BASIC ELEMENTS* KRISS LEHRMAN OF BOTANICALS* LUNATA LUPINO FLOOR FLOWERS!* NOMASHA SYAKA LIBRARY SCULPTY

* PUMPKIN TRIPSA OF CHAKRA NOVA* RON HUBBARD LIBRARY SCULPTY* JULIA HATHOR OF CREATIVE FANTASY SPELLBOUND WOODS* SASAYA KAYO OF HPMD HAPPY MOOD* TEIZUS MILES OF KEEP IT GREEN GARDEN CENTER* TOMHA ZYMURGY COLUMNS* VOONER VOOM OF VOOMERS!* ZAZU ZENOVKA LIBRARY SCULPTY

WARDROBE DEPT

* INA CENTAUR* JUNE DION* NAERGILIEN WUNDERLICH* ZADA ZENOVKA

COSTUMES

* AIR WINX OF ARGRACE* AVA LU OF PAPER COUTURE* BETTIEPAGE VOYAGER OF BP** CORA LU OF PAPER COUTURE* DMAT ALLEN* ELIKAPEKA TIRAMISU OF ETD ELIKAPEKA TIRAMISU DESIGNS

* FALASTEAR AEON OF LITTLE HEAVEN* INA CENTAUR OF ICSKINS* JUNE DION OF BARE ROSE* KUMII YOSHIKAWA OF ::69::* NAERGILIEN WUNDERLICH OF WUNDERLICHS

Animations

* Craig Altman* Ina Centaur* Joff Fassnacht* Kabuki Ewing* Ludo Merit

* Naxos Loon* Prospero Frobozz* Sylva Petrov* Youkono1 Furse

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Although, the designs do not belong to a par-ticular era or location, the set design for this play

continued our tradition of adapting the sets to workwith the basic structure of the Globe Theatre stage.

Preserved in each design is the placement ofparts to account for the Globes characteristic twocolumns, balcony, and conjectural stage door loca-tions. Thus, each set was designed to fit like asort of jacket or cap onto the existing stage features,rather than to disregard them.

During the active season, all of the sets are availablefor your visual enjoyment. They are stored back-stage in the Thames River Courtyard. The follow-ing pages provide a quick visual overview with someminimal commentary on each set.

For further details, please visit:http://TwelfthNight.SLshakespeare.com

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Duke Orsinos palace has both an upper level and a lowerlevel. The Duke himself only enters on the balcony, lostin love and at a distance from whats going on around

himthough the statue-etchings of cupids with bows doall have their arrows pointed at him! Its roughly mid-morning, and sunlight streams through upper level win-dows into the scene, while multimedia-projector-esqueshadows dance in the corridor background. Curio, houseleft, eats a hart and asks about hunting, but Orsino takeshim to mean the heart, and goes off a tangent explain-ing how in love with love he is. Musicians congregate inhouse right to play the food of love.

I think the first thing people notice in this

set is that theres a rather bulky and large

and well-padded flowerbed right in frontof you, and thats what saves Orsino as he

just flutters off the balcony. (Ideally, hell fall

backwards, so from a cinematic angle, when

he lands, this might look like a sort of gay

version of the rose petals scene from Ameri-

can Beauty.) A.D. Ina Centaur

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Perhaps the most daring set attempted yet, withsand and storm and sky and sea all in it, the de-sign does conform to the Globe Theatre stagesstructurethe columns are neatly hidden by palmtrees, and the top and Heavens by storm clouds. Ashipwrecked ship sits between the gap of distancebetween the twin palm trees beneath which Violaand the Captain sit.

This isnt The Tempest, but we have a bigstorm complete with lightning anywaywe

also have global lighting set to stormlight, to

give everything a totally stormy glow. I do

like the dramatic effect you get from wind-

blown hair in real life, but I really love howthe sculpted character clothing and makeup

basically stay unchanging through the

storm! Anyway, though, believe it or not, this

scene was inspired by this thing Ive totally

always wanted to doturning the stage pil-lars into palm trees! A.D. Ina Centaur

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The set features a generic Italian looktimelessand nearly placeless, a conjectural Illyrian street.This exterior scene has buildings with plaster walls,mixed with some Tudor architecture, especiallyfor Taurus Tavern. At its center are large dramaticporch steps leading to Olivias house door, slightlyout-of-proportions, smaller than a regular door,through which Maria enters.

The name of the tavern would have been the

Mermaid Tavern if I wasnt stuck in my literal-ani-

mal symbolism phase Tobys born under Taurus

was taken literallyas it was with the canary and

the hart. Mistress Mall posters advertise an offbeatidea at an extremely well-tuned tailored Shake-

spearean Marketplace, with stores like Shylocks

Usury (exchange) and One True Apothecary

(SLface skin store with items boxed in potion

vialsthat turns you into a new personin looks at

least). Other than that, its a minimal generic past

street scene, with some old haystacks given away

as freebies during Halloween, and a skeleton of a

tarp stand not quite covering a forgotten canary in

a cage. Its complete when Andrew sets down his

bottle of Castiliano Vulgo next to the cageafterMaria dumps him, barren. A.D. Ina Centaur

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With the exception of adornments, original tex-tures are used and created from scratch in all sets.Of note in this one, the plaster is actually generated

using Luxology ImageSynth from several pieces ofphoto-sampled plaster in Raphaels School of Ath-ens.

Scene 4 is basically a reprise of Scene 1,

but with the flowerbed replaced by a weird

slab-ish-looking-thing. (Were at a sort ofdollhouse view, so the glow of the SLSC

logo on the side of the slab doesnt make

the characters lose their place like the penny

in Somewhere in Time.) Symbolically, this

represents Violas replacing the bed of

violetsOrsino defaults to Viola as embassy

to Olivia, rather than gravity in a fall to flow-

ers, canopied with bowers. Also, symbolism

in height of posts is usedViola is at a level

closest to Orsino now for someone whos

not blood. A.D. Ina Centaur

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Rectangular motifs block out the essence of thismulti-level set. The upper level balcony looks likethe perch of a court judge. Huge black mourning

curtains denote the boundaries of a large windowon house left, and stairways block out most of houseright. Much of the house is bare, perhaps Olivia hasordered furniture thrown out in her depression overher brothers passing. Yet, theres the single conjec-

tural painting of Olivia and her brother sitting ontop of the entrance to the scenes.

I had originally wanted grand rounded

stairways, the kind that you see in stereotypi-cal neoclassical mansions or Phantom-of-the-

opera-operahouses. A high quality version

of such a construction isnt possible with-

out too much labor on SL, so I stuck with

a square-angled look. It worked out well,

I guessOlivia is really more angled than

round in personality, so the set reflects her:

though shes fickle from her sudden change

from brother-mourning to Cesario-loving,

theres a sharpness in her that lets her way

become decree. A.D. Ina Centaur

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19Dressing a virtual cast lets you not onlyclothe the actors, but also design their fac-

es, shape their bodies

create their charac-ters for the purpose of rendering their livesin a dramatic and cinematic 3d fashion.

Ina Centaur

While most outfits were combinedfrom existing outfit components, most of the

skins were custom made or custom-fit for thecharacters of Twelfth Night. The outfit choicesfollowed naturally after consideration of eachcharacters state during Act 1 of the play.

This production of Twelfth Night, set in a non-historic and non-location-dependent fictionalworld of Illyria, has its atmosphere created bythe sets in the preceding pages, and its people

created by the wardrobe of the twelve charac-ters in Act 1 shown in the pages to follow.

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finFor the latest updates, check out:http://blog.SLshakespeare.com

To view this programme and others, visit:http://programmes.SLshakespeare.com

For far more info on Twelfth Night, visit:http://TwelfthNight.SLshakespeare.com

See us live@ http://visit.SLshakespeare.com

2008 SL Shakespeare Company

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Documents

SLSC Twelfth Night, Act 1: Programme