My word, it has been quite a journey creating GODFACE city!
With 10 puppets, over 20 props, and a set made of cardboard boxes, I've really had to push for ideas and design a lot on the fly. But it has been this exact juggle of developing the aesthetic with the practical requirements of a show like this that has proven really important.
Through both our development in 2015 and our complete showing this year, I haven't had the usual luxuries as a designer to plan my materials and making process too far in advance. Instead I found mysef roaming around places like Reverse Garbage in Marrickville looking for inspiration, or working on the set with whatever cardboard boxes I could pick up from K-Mart. With GODFACE, this time spend exploring and improvising has become a key part of the final images on stage: I would go to Reverse Garbage and find fabrics and think, "Oh! That could make that thing" and then I would come to first rehearsal with a Wolf puppet made from upholstery fabric - who would have thought!
I guess everything kind of desigs itself together, and I'm finding that has become a core part of my process. I don't think every designer is like that but that is how I work. I'm pretty hands on and become very connected to the things I create.
Aleisa with her puppets, in front of the GODFACE set at 107 Projects.
Photo by Scott Parker.