Class Notes: Marg Horwell “The Picture of Dorian Gray”

Summary

BroadwayRadio Podcast Summary
Episode: Class Notes: Marg Horwell “The Picture of Dorian Gray”
Release Date: March 27, 2025
Host: Lauren Clash Schneider
Guest: Mark Porwell, Award-Winning Set and Costume Designer

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Introduction

In this engaging episode of BroadwayRadio, host Lauren Clash Schneider delves deep into the intricate world of live theater production with Mark Porwell, the acclaimed set and costume designer behind the captivating production of "The Picture of Dorian Gray" at the Music Box Theater. Released on March 27, 2025, this episode offers listeners an insider's perspective on the creative and technical challenges of staging a one-person show enriched with live performances and multimedia elements.

Production Overview

Mark Porwell opens the discussion by highlighting the unique nature of "The Picture of Dorian Gray", which seamlessly blends live theater with simulcasts, incorporating onstage costume and wig changes alongside pre-recorded video segments featuring Sarah Snook. The production explores themes of hedonism, excess, and beauty, presenting a contemporary commentary on life as a performance.

Mark Porwell [00:16]: "It's a funny project, this one, because we always talk about it as a one person show, but actually a production that includes many, many people to create the production live."

Live Performance Meets Pre-Recorded Elements

One of the standout features of this production is the interplay between live performance and pre-recorded footage. Sarah Snook embodies 26 characters, with 18 or 19 of these transformations occurring live on stage. Mark elaborates on the technical marvels that make these transitions possible, emphasizing the real-time transformations that captivate audiences night after night.

Mark Porwell [00:50]: "We have created 18 or 19 of those characters to be fully costumed, wigged, mustached characters where she completely transforms from character to character."

This dynamic approach not only showcases Sarah's versatility as a performer but also highlights the meticulous choreography behind costume and set changes, which Mark likens to a "dance backstage."

Casting and Collaboration with Sarah Snook

Mark discusses the casting process, revealing that Sarah Snook was brought on board after the initial creation of the show. The production originally debuted in Australia with a different performer, alongside Kip Williams, the writer and director. The transition to featuring Sarah in the West End allowed for a more tailored design process, leveraging her physicality and character acting prowess to refine and adapt the roles.

Mark Porwell [02:49]: "Sarah's a very playful performer and an incredible character actor. We have made changes to characters based on her physicality and what suits her."

This collaboration ensured that the design elements were specifically crafted to complement Sarah's unique strengths, resulting in a production that feels both personal and cohesive.

Collaboration with Kip Williams

The synergy between Mark Porwell and Kip Williams is a cornerstone of the production's success. Having worked together previously, their collaborative dynamic allows for a seamless integration of script, set, and costume design. Mark explains how their partnership extends beyond traditional roles, often combining set and costume design to maintain a unified aesthetic across the live and recorded segments.

Mark Porwell [04:39]: "There is a very collaborative approach to how to make this production and how to develop something that we can achieve in the final product."

Their mutual understanding and shared vision facilitate an organic development process, ensuring that every design decision supports the overall narrative and thematic goals of the production.

Integration with Video Design

The episode also touches upon the collaboration with David Bergman, the video designer credited for the production. Mark describes the innovative approach to blending theatrical elements with cinematic techniques, creating a hybrid that respects the immediacy of live theater while utilizing the depth of filmic storytelling.

Mark Porwell [06:23]: "We've approached it from a very theatrical standpoint. But a lot of our takes are one take. It feels like every part of the design can be seen."

This fusion necessitates meticulous planning and coordination, as the team works within the constraints of both theater and film, ensuring that each scene transitions smoothly between live action and pre-recorded footage without the luxury of extensive post-production editing.

Designing Sets and Costumes: Balancing Creativity and Practicality

Mark delves into the intricacies of balancing set and costume design, especially in a production where the visual elements are constantly shifting to support multiple characters. He discusses the "self-negotiation" process, where he balances risks and changes in set designs with corresponding adjustments in costumes to maintain visual coherence.

Mark Porwell [08:58]: "I like to know that if I can take a risk or change something on one side, that I can balance it on the other."

He emphasizes the importance of creating an adaptable and versatile design that can accommodate the fluid nature of the performance, likening the scene changes to "Opera Rules," where transitions are seamless and purposeful.

Teamwork and Collective Effort

A significant portion of the conversation highlights the collaborative spirit required to bring such a complex production to life. Mark praises his extensive team, which includes a head of wigs, makeup artists, costume designers, carpenters, and props specialists, all contributing their expertise to achieve the nostalgic and handcrafted aesthetic of the show.

Mark Porwell [10:28]: "It's been great to have such a huge team across many departments and be able to bring them all together."

He also touches upon the challenges and rewards of managing such a large crew, especially in a one-person show framework, underscoring the importance of teamwork in overcoming the logistical hurdles of live and recorded hybrid performances.

Conclusion

In closing, Mark Porwell shares his appreciation for the collaborative environment and the dedicated team that makes "The Picture of Dorian Gray" a standout production. His insights offer a profound understanding of the delicate balance between creativity and technical execution required to stage a multifaceted one-person show that captivates and engages audiences.

Mark Porwell [11:08]: "Just get as many friends as you possibly can so that you’re not just you being lonely."

Lauren Clash Schneider wraps up the episode by thanking Mark for his time and the invaluable secrets he shared, leaving listeners with a deeper appreciation for the complexities and triumphs of theatrical production.

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Key Takeaways:

• Complex Production Design: Combining live performance with pre-recorded video creates a rich, multi-layered narrative experience.

• Collaborative Efforts: Successful integration of set, costume, and video design hinges on strong partnerships and effective teamwork.

• Adaptability: Designing for a one-person show with multiple characters requires flexibility and innovative problem-solving.

• Technical Mastery: Seamlessly blending live and recorded elements demands meticulous planning and technical expertise.

Notable Quotes:

• Mark Porwell [00:50]: "We have created 18 or 19 of those characters to be fully costumed, wigged, mustached characters where she completely transforms from character to character."

• Mark Porwell [04:39]: "There is a very collaborative approach to how to make this production and how to develop something that we can achieve in the final product."

• Mark Porwell [08:58]: "I like to know that if I can take a risk or change something on one side, that I can balance it on the other."

This episode is a must-listen for theater enthusiasts and professionals alike, offering a behind-the-scenes glimpse into the artistry and collaboration that define modern Broadway productions.

Transcript

[A]

Hi, I'm Lauren Clash Schneider with Clash Notes for Broadway Radio. I'm here with Mark Porwell, the award winning set and costume designer of the Picture of Dorian Gray at the Music Box Theater. Hello.

[B]

Hi Lauren. Thanks so much for having me.

[A]

Well, thank you for having that gorgeous accent. Now using a combination of live performance and simulcasts, complete with onstage costume and wig changes, as well as some pre recorded video of Sarah Snook, the Picture of Dorian Gray tells a story of hedonism, excess and beauty in a contemporary, in a commentary of life as a performance. I can't even get over how you technically make this happen. Will you share some of the mystery?

[B]

Sure. It's a funny project, this one, because we always talk about it as a one person show, or it's often billed as a one person show, but actually a production that includes many, many people to create the production live. So that's, I think one of the most important parts for me is that actually it's still a part of live performance and we are performing the show every night and everything does happen in real time. There is cameras on Sarah the whole time where we're actually seeing her perform live. So there is a, an interplay between what's pre recorded and what's live. But Basically Sarah plays 26 characters in the Picture of Dorian Gray and we have created 18 or 19 of those characters to be fully costumed, wigged, mustached characters where she completely transforms from character to character. Some of those, those characters are only on pre recorded image and she can speak to those cameras, to those images live. Some of them we transform in front of an audience, which is I think the most thrilling part actually, where you can see a character be established on film and then we create it live so that she's performing as that character live. There's something kind of immediate and exciting about that, but I guess it's not a great secret other than we have an excellent team. I have an amazing group of dressers and carpenters and stage crew here who are very adept at kind of choreographing beautiful changes that kind of seem to magically appear and there's, it's kind of like a dance backstage, which is, I think really exciting. I think really lovely to watch.

[A]

And was Sarah Snook cast in the role before you came on board to start designing?

[B]

No, we actually have done this production with a performer prior to Sarah coming on board. We made the show in Australia and made the production alongside Kip Williams, who is the writer and director from the book. So basically the first time we ever read it was an edited version of the book that went for about, I think, seven and a half or eight hours. And then from there, Kip developed the script and the design, developed alongside that script. So we kind of landed at a, at a design and final draft of the show at a very similar time. So it was a really organic collaborative process and Sarah came on board for our West End, our West End season. The. The great thing about focusing on one performer is that that means that you can kind of really tap into that performer's physicality, how they wear clothes, how they, their posture, you know, whether they're what shoes make them feel more feminine or masculine. And what will help look the most different between characters. Sarah's a very playful performer and an incredible character actor. So she. We have made changes to characters kind of based on her physicality and based on kind of what suits her. So it really is a performance or this version of the production is really made with Sarah in mind from a design point of view. It's really kind of collaborating with her to get to a point where we've made 19 characters that feel of her and of the production.

[A]

You talked a little bit about Kip Williams as the writer and director. How did you two establish that you would design the sets and the costumes for this unique piece?

[B]

Kip and I have worked together quite a few times before, but I've worked with him as a costume designer. We've often worked with a different set designer, but in Australia we often do combine the roles more often than here. So when I'm working on shows at home, I'm more often than not doing both roles. This is such an integrated production, so I feel like it's video is speaking to costume, is speaking to set. And because we are creating things live that are being recorded, we have to be sure that we can achieve it live before we commit it to camera. So there is a very collaborative approach to how to make this production and how to develop something that we can achieve in the, in the final product. I, I love doing both roles. I, I feel like, especially in a, a very kind of fluid performance like this, that it felt like a very natural thing to look at the, the whole aesthetic and then also to treat the pre recorded filming section as well as, as part of that. So it's never kind of separate. That was. It's always been a great, a great kind of gift to be able to do both. But Kip and I have done several works since then where we've done both and, and a Very like minded theater makers. I think we like interrogating the same kinds of aesthetics and kind of stories. So it feels like a really good match. And he's a good friend. So that's also very helpful.

[A]

Nice. David Bergman is credited as the video designer. And the work seems to intersect so much. How do you work together in that integrated way?

[B]

It's a. It's a really. I believe it's a really unique way to approach essentially making a film on. On this show where it has. We've approached it from a very theatrical standpoint. But a lot of our takes are one take. So if she's observing a whole scene, there's a scene with a dinner party. Each of those characters is playing that whole scene. It's not edited within it. So we've set it up kind of with the actual set pieces that we're using on stage. We've set it up often in a. Some of it's filmed on stage, some of it is filmed in a soundstage. To make it look like we're on stage. And Kip is often directing those characters as though they are other actors performing with Sarah. So it is quite an unorthodox way of approaching film. Because it is quite restrictive. You don't have the benefit of going back and editing a lot of things. So it's a lot of preparing and a lot of pre planning and kind of looking at it in a scary way. So it feels like every part of the design can be seen. You don't often have the benefit of cropping out or. Or, you know, everything has to be three hundred and sixty. So I think the way that and I worked together, especially at the start, was trying to put as many things in place that would kind of safeguard that theatrical approach. And would mean that we could kind of come out with very clean takes. That meant we didn't have to manipulate that much afterwards. Because I think there's something. I think you can feel the liveness in it. There are a couple of sequences in the show that are very filmic. We went on location for one. One scene. And that was a big. More of a film shoot that Dave has choreographed. And kind of approached more like a cinematographer. So there are sections, I think, that do speak more to film. But it was quite an unusual process for all of us to get on board with. And to try and make a theater schedule and theater budget and theatre constraints work for what is essentially a piece of film. Yeah. Terrifying.

[A]

No doubt, no doubt. Back to the concept of you designing this. The scenery and the costumes. Explain the relationship that you have with yourself as a colleague. Do you talk to yourself like just one talk to the other?

[B]

That is such a great question. I think I negotiate with myself a lot. I think I. I like to know that if I can take a risk or change something on one side, that I can balance it on the other. So I think it is always a bit of a self negotiation. We often start with set. I find that, especially when I'm working with Kip, that we start thinking about the space first and about how in this particular production, we wanted it to feel like you were in an empty theater, that there's nothing there, and that images can kind of come and go very effortlessly or surprisingly. So it felt like there was also a lot of opportunity to kind of change tact. I always call it Opera Rules because it feels like in opera, when the music changes, you can just change the scene and you don't have to kind of justify how you got there. This feels similarly where it's chaptered like a book, each chapter can be treated in a slightly different way. So then I think costume can kind of respond accordingly. And then, of course, when Sarah came on board and we made some shifts there, then we could make some shifts in the set as well. But it's. I've recently done a show in London where I was costuming and worked with another set designer. And it is so wonderful to collaborate with other people as well. So I do. I do miss it sometimes. It's so amazing to have another voice and to be part of a kind of a bigger conversation. But this is such a large team of people. I have my head of wigs who was part of our, you know, hundreds of hours of wig tests, makeup tests with Sarah, and kind of refining looks before we have to put them on film. And my incredible costume team, and then a brilliant props team back in Sydney who really kind of handmade a lot of things. And we made it very like old school theater things where people. You can see that people have painted things by hand and made things with their hands. So it's very nostalgic for me, this piece. So it's been great to have such a huge team across many departments and be able them all together.

[A]

Well, that sounds great. So when you're tired of talking to yourself, you still have other people to talk to.

[B]

I know. Just get as many friends as you possibly can so that you. It's not just you being lonely. Yeah, it's. It's been a big. A huge crew on this one, which.

[A]

Has been really great for a one person show.

[B]

Not a one person show.

[A]

One person on stage. But, Mark, this has been terrific. Thank you so much for your time and. And sharing some of these secrets.

[B]

Thank you so much for having me. It's been so great.

[A]

I'm Lauren Klaus Schneider with Mark Horwell, the set and costume designer of the picture of Dorian Gray playing at the Music Box Theatre. Thank you.