Open Forum

I am really struggling with a selection for our fall season.  I just read The Diviners and loved it.  Does anyone have any thoughts on this one?  Have you done it?  How did you handle the river and well scenes?  We don't have a trap.

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Gary Hicks
Atlanta GA
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I love the play!

I worked on a production of it where we did the last scene with a lot of mime work and heightened theatricality.

*spoiler alert*

When buddy was underwater we changed the lighting color to blue and used a light/slow strobe light effect and some really heavy sound effects while the rest of the cast moved in slow motion- and when he came up for air we snapped back to real time movements and more normative lighting.


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Scott Schoonover
Technical Director
Saint Louis University High School
St. Louis MO
------------------------------

Original Message:
Sent: 07-18-2017 12:16
From: Gary Hicks
Subject: The Diviners

I am really struggling with a selection for our fall season.  I just read The Diviners and loved it.  Does anyone have any thoughts on this one?  Have you done it?  How did you handle the river and well scenes?  We don't have a trap.

------------------------------
Gary Hicks
Atlanta GA
------------------------------

I designed the set and lights for The Diviners, this past school year.  We also did not have an ability to use a trap.  We came up with a unique solution that served our needs, but it is certainly not the only way to do it.  If you have the ability to lower the apron, you can create some spaces for things like the river, downstage.  We did not have that option either.

In general, I would look out for something that builds your set up, and allows for Buddy to go underneath by making a lateral move, or builds a trap into your set.  I would also recommend looking at how you're planning to light the production.  Between the underwater at the end, and the multiple sunrises that are mentioned, you can't just go with a plain wash, and hope that it'll work out.  I used lots of gobos, and both upper and lower cyc lights to create texture and things like the sunrises and storms.

We took the basic design that the play mentions in the beginning, and did a rake.  It involved a fair amount of trig on my part, lots of double-measuring on the stagecraft students' parts, and plenty of practice walking on the actors' parts.  It was a good, but challenging experience.

The well scenes were done off the upstage edge of the rake, allowing for actors to step down "into the well" by stepping onto the US escape stairs, or onto the stage floor.

The river scenes were done at the front of the rake, and onto the stage floor.  The front of the rake didn't slant all the way into the floor, and instead started at 18" off the ground, allowing actors to sit on the rake.  This helped make a distinction between the bank of the river and the water.

Lastly, we created cut outs into the set for prop access, and for the drowning.  There were 3 cutouts, which allowed for scenes to take place in smaller sections on top of the rake, and for actors to play around with levels.  During the drowning, we worked heavily on the lighting transitions, and on having Buddy pulled underneath the rake, on the upstage edge of one of the cut outs.


------------------------------
Sydney Thiessen
Fine & Performing Arts Coordinator and Technical Director
Reynolds High School
Troutdale OR
------------------------------

Original Message:
Sent: 07-18-2017 12:16
From: Gary Hicks
Subject: The Diviners

I am really struggling with a selection for our fall season.  I just read The Diviners and loved it.  Does anyone have any thoughts on this one?  Have you done it?  How did you handle the river and well scenes?  We don't have a trap.

------------------------------
Gary Hicks
Atlanta GA
------------------------------

We, too, built a raked stage, which allowed us to build a shallow trap in the floor for the well scene. The river was all light, a very well- defined strip of light across the bottom third of the stage and it had a very hard edge on the upstage side. Buddy went in and out of the water by his position on the stage and in the light.

Sent from my iPad


Original Message------

I designed the set and lights for The Diviners, this past school year.  We also did not have an ability to use a trap.  We came up with a unique solution that served our needs, but it is certainly not the only way to do it.  If you have the ability to lower the apron, you can create some spaces for things like the river, downstage.  We did not have that option either.

In general, I would look out for something that builds your set up, and allows for Buddy to go underneath by making a lateral move, or builds a trap into your set.  I would also recommend looking at how you're planning to light the production.  Between the underwater at the end, and the multiple sunrises that are mentioned, you can't just go with a plain wash, and hope that it'll work out.  I used lots of gobos, and both upper and lower cyc lights to create texture and things like the sunrises and storms.

We took the basic design that the play mentions in the beginning, and did a rake.  It involved a fair amount of trig on my part, lots of double-measuring on the stagecraft students' parts, and plenty of practice walking on the actors' parts.  It was a good, but challenging experience.

The well scenes were done off the upstage edge of the rake, allowing for actors to step down "into the well" by stepping onto the US escape stairs, or onto the stage floor.

The river scenes were done at the front of the rake, and onto the stage floor.  The front of the rake didn't slant all the way into the floor, and instead started at 18" off the ground, allowing actors to sit on the rake.  This helped make a distinction between the bank of the river and the water.

Lastly, we created cut outs into the set for prop access, and for the drowning.  There were 3 cutouts, which allowed for scenes to take place in smaller sections on top of the rake, and for actors to play around with levels.  During the drowning, we worked heavily on the lighting transitions, and on having Buddy pulled underneath the rake, on the upstage edge of one of the cut outs.


------------------------------
Sydney Thiessen
Fine & Performing Arts Coordinator and Technical Director
Reynolds High School
Troutdale OR
------------------------------

We built our set up on each side with the curved river in the middle. We could then use that middle area for other things, too. In the drowning scene, we used light and a fog machine, as well as underwater sound fx every time Buddy went under, and slow motion. Worked like a charm. Much more powerful than a realistic pool. Loved that show!

Sent from my iPad


Original Message------

I designed the set and lights for The Diviners, this past school year.  We also did not have an ability to use a trap.  We came up with a unique solution that served our needs, but it is certainly not the only way to do it.  If you have the ability to lower the apron, you can create some spaces for things like the river, downstage.  We did not have that option either.

In general, I would look out for something that builds your set up, and allows for Buddy to go underneath by making a lateral move, or builds a trap into your set.  I would also recommend looking at how you're planning to light the production.  Between the underwater at the end, and the multiple sunrises that are mentioned, you can't just go with a plain wash, and hope that it'll work out.  I used lots of gobos, and both upper and lower cyc lights to create texture and things like the sunrises and storms.

We took the basic design that the play mentions in the beginning, and did a rake.  It involved a fair amount of trig on my part, lots of double-measuring on the stagecraft students' parts, and plenty of practice walking on the actors' parts.  It was a good, but challenging experience.

The well scenes were done off the upstage edge of the rake, allowing for actors to step down "into the well" by stepping onto the US escape stairs, or onto the stage floor.

The river scenes were done at the front of the rake, and onto the stage floor.  The front of the rake didn't slant all the way into the floor, and instead started at 18" off the ground, allowing actors to sit on the rake.  This helped make a distinction between the bank of the river and the water.

Lastly, we created cut outs into the set for prop access, and for the drowning.  There were 3 cutouts, which allowed for scenes to take place in smaller sections on top of the rake, and for actors to play around with levels.  During the drowning, we worked heavily on the lighting transitions, and on having Buddy pulled underneath the rake, on the upstage edge of one of the cut outs.


------------------------------
Sydney Thiessen
Fine & Performing Arts Coordinator and Technical Director
Reynolds High School
Troutdale OR
------------------------------

Do this show! I was in a production in college and have since directed it 4 times in my career at different schools and in community theatre. The end scene is not at all intimidating and doesn't require elaborate effects. In fact, I would URGE you to treat this piece with honesty and simplicity. It is one of the most satisfying shows I've ever been in, directed, or seen.

------------------------------
Timothy Brown
Theatre Teacher
Greenville County Schools
Travelers Rest SC
------------------------------

Original Message:
Sent: 07-18-2017 12:16
From: Gary Hicks
Subject: The Diviners

I am really struggling with a selection for our fall season.  I just read The Diviners and loved it.  Does anyone have any thoughts on this one?  Have you done it?  How did you handle the river and well scenes?  We don't have a trap.

------------------------------
Gary Hicks
Atlanta GA
------------------------------

First off- beautiful show. Absolutely do it. Do it however you want! We've done it twice- once where the drowning scene was physicalized on the apron in slow motion, another where we used the orchestra pit and flowing fabric, fans, etc. Either way was beautiful in very different ways. SUCH a great show for analysis, conversations, exploration. Yes, completely yes.

------------------------------
Victoria Kesling Councill
Chapter Director - VA EdTA/ Virginia Thespians
Theatre Director- Fine & Performing Arts Department NKHS
Artistic Director - NKHS Trojan Theatre
Artistic Director - Kent England Exchange Production
Virginia Commonwealth University BFA Theatre Education, BFA Art Education '08
University of Houston - MA in Theatre Candidate '16

"Love the art in yourself and not yourself in the art." - Konstantin Stanislavski
------------------------------

Original Message:
Sent: 07-19-2017 10:08
From: Timothy Brown
Subject: The Diviners

Do this show! I was in a production in college and have since directed it 4 times in my career at different schools and in community theatre. The end scene is not at all intimidating and doesn't require elaborate effects. In fact, I would URGE you to treat this piece with honesty and simplicity. It is one of the most satisfying shows I've ever been in, directed, or seen.

------------------------------
Timothy Brown
Theatre Teacher
Greenville County Schools
Travelers Rest SC
------------------------------

Original Message:
Sent: 07-18-2017 12:16
From: Gary Hicks
Subject: The Diviners

I am really struggling with a selection for our fall season.  I just read The Diviners and loved it.  Does anyone have any thoughts on this one?  Have you done it?  How did you handle the river and well scenes?  We don't have a trap.

------------------------------
Gary Hicks
Atlanta GA
------------------------------

I want to thank everyone for the responses and creative ideas.  I was envisioning a raked stage with a built-in trap for the well, but I also like the idea of the well being off the rake upstage.  

I'm getting closer to choosing this show.   

Another question:  Has anyone received permission to cut this for One Act?  We usually do a full-length but take a cutting to competition.  Thoughts?  Ideas?

Thanks again.

------------------------------
Gary Hicks
Atlanta GA
------------------------------

Original Message:
Sent: 07-20-2017 08:57
From: Victoria Kesling Councill
Subject: The Diviners

First off- beautiful show. Absolutely do it. Do it however you want! We've done it twice- once where the drowning scene was physicalized on the apron in slow motion, another where we used the orchestra pit and flowing fabric, fans, etc. Either way was beautiful in very different ways. SUCH a great show for analysis, conversations, exploration. Yes, completely yes.

------------------------------
Victoria Kesling Councill
Chapter Director - VA EdTA/ Virginia Thespians
Theatre Director- Fine & Performing Arts Department NKHS
Artistic Director - NKHS Trojan Theatre
Artistic Director - Kent England Exchange Production
Virginia Commonwealth University BFA Theatre Education, BFA Art Education '08
University of Houston - MA in Theatre Candidate '16

"Love the art in yourself and not yourself in the art." - Konstantin Stanislavski
------------------------------

Original Message:
Sent: 07-19-2017 10:08
From: Timothy Brown
Subject: The Diviners

Do this show! I was in a production in college and have since directed it 4 times in my career at different schools and in community theatre. The end scene is not at all intimidating and doesn't require elaborate effects. In fact, I would URGE you to treat this piece with honesty and simplicity. It is one of the most satisfying shows I've ever been in, directed, or seen.

------------------------------
Timothy Brown
Theatre Teacher
Greenville County Schools
Travelers Rest SC
------------------------------

Original Message:
Sent: 07-18-2017 12:16
From: Gary Hicks
Subject: The Diviners

I am really struggling with a selection for our fall season.  I just read The Diviners and loved it.  Does anyone have any thoughts on this one?  Have you done it?  How did you handle the river and well scenes?  We don't have a trap.

------------------------------
Gary Hicks
Atlanta GA
------------------------------