"How We Got On" Set Designing (Cultural Expansion): How I Got On! (6 points)

  

    From mid-October to mid-November, I've had the greatest honor to work with Spelman Theatre as a set designer for the production "How We Got On" by Idris Goodwin, and directed by Professor Natalie Sowell. It was a rollercoaster of emotions and information. From having weekly productions, to the meeting of the cast and crew, to finally getting to see the play as a whole, it truly opened my mind to a whole new world of creative expression. In other words, because of this play, I can now add technical theatre as a branch of my journey as a creative.

    At first, I believed set designing was just drawing figures or models, putting measurements next to them, and submitting that as the final product. However, when I met with Professor, and one of the other technical directors, I realized set designing was so much more than that. For starters, it was my responsibility to read the script, get an idea of the world and time period it was in, and come up with ideas on different structures that were key to the storyline. Once I did that, I presented my ideas to Professor Sowell and the different department heads of the production, to which they loved my ideas. Next, I was assigned a mentor, Professor Isabel Curley-Clay, who, along with her sister Moriah, showed me how to place dimensions in my designs, measure structures in different architectural scales, and use guides in Procreate to ensure my work was accurate. Every design, or addition, was then sent to my mentor, reviewed, and then sent back to me with constructive criticism and/or extra details that needed to be included in the design. This is where I practiced Imaginative Risk, where I thought outside the box, asking myself how I could make the play come to life through my designs. At the Design Presentation meeting, I felt proud about what I did. The technical director, however, neglected the fact that I was a student set designer, and it was my first time doing anything remotely technical and complex. So, his critiques were structured for a professional with massive experience and an extended résumé. After that meeting, defeat took a hold of my confidence, but mentor told me not to be discouraged because everything I was doing was completely fine, especially for my first time. Her words of encouragement reminded me that I took this job because I wanted to expand my knowledge and learn new things, so I continued to design and request feedback, allowing myself to better my drawing skills, and eventually connect with the technical director, who apologized for his behavior, and other crew members. 

    Meeting the cast and crew of the production felt like being inducted into a family full of like-minded creatives. The cast members, both in and out of character, were hilarious and absolutely amazing to be around. The crew, granted they were running all over the place to make sure everything was set for the show, were also very funny and made me feel at home. Almost every rehearsal, I would get compliments about the set and how well it was coming together. However, of course, I couldn't take all of the credit. The set painters who came in to make sure everything was accurate, according to my designs, really did the leg work. They brought the stage to life with color, and it was moments like this that I found out what spaces truly make me feel loved, appreciated, and valued for what I contribute. The play was a success, and everyone who came to the shows enjoyed every aspect of the production, from the music, to the lights, to the actors, and finally to the overall aesthetic of the stage. For them, it was truly an immersive experience, and I played a role in helping that experience come to life. It filled me with so much joy to the point I asked my mentor to help out with another upcoming production. Now, throughout my 4 years at Spelman, I will always have a place to reflect, connect, and be as creative as I want to be.

By Caitlyn Hickman '29