Kent Barrett is the set designer for UF's production of "A Streetcar Named Desire." He is also a fourth-year graduate student seeking a Master of Fine Arts degree in scenic design. He spoke with the Avenue about his experiences creating the set for the production, which runs until Sunday at the Constans Theatre.
AVE: How did you personally become involved in theater and set design?
KB: I grew up in a house of theater people and grew up with lighting design. And then, somewhere along the way, I started doing more scenic design because I felt lighting was more about reaction, whereas design is more proactive and creative.
AVE: Tennessee Williams' original 1947 play, "A Streetcar Named Desire," has been adapted into movies, TV series and even an opera. Did you look to one of those in particular for inspiration?
KB: Yes and no. I did a lot of research, but most of that research was geared toward trying not to reproduce what [past adaptations] had done. There's elements in here that are sort of stereotypical to the play, like the spiral staircase. But we're trying to do something a little more unique and have our own voice with it.
AVE: How did you try to make your own voice with it?
KB: Well the process is really long. We started talking about it back in March or April. I met with the director [Dr. Judith Williams], and she and I went over different ideas we had until we had agreed on something. What we really agreed on was the idea of beauty and decay - there are all kinds of references in the text that things used to be beautiful but had kind of deteriorated. And Judith really wanted to push that organic idea of going through these things that are kind of run-down.
AVE: How long did it take to conceptualize, design and create the set?
KB: [The director and I] started meeting and my designs were due by the end of April. The process was interesting for me because I went to [work on] another play and when I came back, a good chunk of the set had been built. And then we spent the beginning of this semester finishing the build, painting, and arranging the furniture. So a good six months I'd say.
AVE: What was the approximate budget for the set and how did you work off of that?
KB: Our budget was actually pretty large. I think we ended up spending approximately $12,000 for all of it. Normally we would build something, but for this play we were just able to buy it instead.
AVE: "A Streetcar Named Desire" takes place in late-1940s New Orleans. What did you take into consideration while designing the set to achieve such an "old South" atmosphere?
KB: It's a lot of research, especially in terms of props and set dressing. At one point, someone asked about the technology for one of the doctor's props, and we had to check if such technology was even available in 1947. With the set pieces, sometimes you get stuck in the details of trying to show the time period. And it's really the individual little set pieces that show that [time period], rather than the overall broad design.
AVE: Do you feel any set pieces are the most vital in telling the story, and how did you choose those?
KB: The balcony, I love that piece, because it creates sort of a higher playing field and has a more New Orleans feel to it than the rest of the set. Even the flowers [on the balcony], I wanted to start the show in cool blue and green tones with those, and then when [protagonist] Blanche showed up, we would start to show more reds and bright colors. But the director wanted more color, so we compromised on that.
AVE: If you could do anything over again, what would you change?
KB: I would probably do the whole thing differently if I could. The set serves the function it does, but it doesn't do or say anything that breaks boundaries. I think it'd be really interesting to set the play in a modern context and maybe have the audience closer to the action itself.
