My design for the touring production of Red Red Shoes is to be set on a traverse stage. I intend to focus the design around the concept of being inside ‘the head of a traumatised child’. I think that this is a significant theme within the play, one that could create something really interesting. For example, as the play is set inside a young child’s mind, it allows the design to be slightly more fantastical (a little bit off). As well as focusing on the mind of a child, I will also look at incorporating a medical feel into the design. This is due to the fact the story continuously flips back to sitting in hospital interacting with a doctor about what has happened to her.

For the opening scene I wanted it to feel relatively normal. The idea that you are within a normal child’s bedroom, but also leave questions there too. One of the key ideas within this scene is that I would like the costumes for the characters in the play to come from Franveras room; as if they were coming from her imagination. An example of this would be the red scarf hanging on her bed becoming Red Beard’s beard. As the actors put on their costume, they strip the bedroom a little barer, until it eventually becomes a stark medical space.


The next space that I have considered is the Drs office. Here the scene would be very stark, very medical. A singular hospital bed in centre stage with lit up medical screens at either end. The doctor as a character, I would like to appear as a shadow puppet; as someone who is excluded from her imagination. Also within this space a small medical table is brought on with a laptop.

I intend to attempt to solder some of these elements together when making my model box. I see them as all being plain silver and metal.


When Franvera is forced to leave the town by the soldiers, she enters the forest. To create the forest I want something more ambiguous than literally bringing on trees. So for this scene I have thought about using the bunting to give the illusion of a forest. I want the characters to be able to weave through the bunting as if it were hanging branches. A possible change that I would make to this scene is to make the bunting more autumnal colours, rather than bright red.

To aid the image of a forest I am also contemplating adding different things to put on the floor. These would be to create noises, for example crackles and snaps. This would help the children to imagine the forest even more.


Another strong image in this play is that of the Black Boots. These are the symbol of the soldiers, of Franvera being ripped from her home, Of her losing her father and ultimately of her death. I think that this is a really important image to get right.

I like the idea of the screens containing the boots, and then also the idea of the cast climbing through the screens with big boots on. The idea of the boots coming through the wall of screens also helps to portray the sense of the room being ‘edgeless’. This is another key theme mentioned within the play; The idea of reaching ‘the edge of the edgeless room’. This offers the idea of the containment of the surgery, and also the unstable elements of the young child’s mind.

Another idea I had for this scene was to utilise the bunting in another way. It would be an interesting image if the bunting were to clip to the screens, and then encircle the screens. I think this adds another layer of madness and being trapped.


The last space that I have considered is the refugee camp. Again I have considered using the bunting as a scenic element. I came up with the idea of creating a tent around Franvera with the bunting. Although I think this could become interesting aesthetically, I think that  practically it would create some issues.



I made the decision to design a tour-able show for the play Red Red Shoes. The set, props, costumes and any technical equipment all have to fit into the back of a van, and be set up by the cast within an hour. We have been given a cast of 4-5 actors and 1 stage manager to create this show. This means that 8 characters and all of the cast roles have to be shared between a maximum of 5 actors.

A key thing about this project is that I really want to keep it as simple as possible. I want to focus on a key concept, and cleverly configure a design that portrays it. At the moment I am thinking of focusing the set design around the concept of the head of a traumatised child and also looking at the medical centre.

I like the idea of a traverse production that somehow includes the audience more than the average production. I am considering incorporating a way for the children to get involved by making noises that add to the scenes being set in the play. An idea that could be interesting is experimenting with a way to encourage the children to stamp their feet when Franvera begins to dance.


Last week we were lucky enough to have a mask maker named Stephen to come in and teach us how to create traditional paper masks. The masks were all to be half face masks, this makes it easier for the wearer to talk and breathe etc. It also makes the whole process quicker, which for us was something we needed.

Our masks were based on characters from one of the two plays; Red Red Shoes and The Ash Girl. Once we had chosen our character, we then picked an adjective out of a box. This adjective would then give our masks emotion. My character was a Wretched Old Lady.

The week began in the workshop with a bit of rough sketching. We were asked to create a continuous line drawing that responded to a number of silly questions that Stephen gave us. A couple of examples of the questions were; What do they smell like? If they were an animal what animal would they be? What landscape would best describe them?

I then flipped the drawing around, moving it so that I was able to pick out key shapes that I could translate into a 3D mask.

The first stage of the mask making process was to sculpt a design out of clay. We used already cast plaster heads, and built clay onto these. A professional mask maker would ideally do a cast of the specific actor that the mask was being made for. Unfortunately for us we did not have enough time within the week to do this too.

The pictures above illustrate the first step of creating my mask. I used small ‘sausage’ shaped pieces of clay to outline the eyes and the edges of the mask. These were the boundaries in which I worked when adding the clay.


To characterise my mask I decided on a large crooked nose, almost witch like, and a hollow bone structure to show the age of the character. An important tip I learnt from this step of the process was to consider the features as lines and planes and not as edges. This important as when the theatre lights hit the mask, the planes pick up light, but the edges would not. I also added wrinkles to the face to help to show the emotion and the age.

The next step in the process was to wet the clay and then cover it in tin foil. The tin foil layer helped to keep the moisture of the clay away from the paper. I found it difficult to do this layer, as it was so easy to rip the foil when smoothing it into the deeper areas.


After the foil it was time for the first layer of paper. We used a mixture of PVA glue and wallpaper paste, better known in the business as cow juice. For the paper we simply used ripped up brown parcel paper. The process is basically that of papé mache.


Creating this mask requires 3 layers. 2 of which are layers of the brown paper (above), between these 2 layers we also added a layer of J cloth. To apply this we used a mixture of PVA glue and polyfiller. This layer makes the mask stronger and more rigid. The only difference with this layer was that we did not put it over the eye wholes or any further than the edges of the mask.


Once we had completed the 2 layers of paper and one of J cloth it was time to remove the mask from the mould. To do this we used the foil to slowly peel it away. Preferably the mask would have slipped completely off the clay, which it did for some of the group, but unfortunately for me my foil took the clay with it. This made the process lengthier for me as I had to scoop all of the clay out of the mask. Once I had completed this lengthy task I then had to embark on another, which was the job of peeling all of the silver foil away from the brown paper, which again took ages.

From this point it was time to trim the mask. This involved getting our scalpels and cutting out the eye holes and nostrils, also trim around the actual mask. Once we had created our cuts we then got the brown paper back out and papered all of our edges.

We now had our mask. The only jobs left were to attach elastic, paint and test them out.






Another development exercise we all created a short graphic comic strip of a scene from The Ash Girl. This was an interesting task for me, as graphic is not my usual style. The exercise definitely got me to direct the play in more detail. It made me think about what the play is trying to say.

I chose Act 1 Scene 11; Who lives in the mirror? This scene is the scene we are introduced to the fairy in the mirror. It is a very long scene, and one of the most typical to the story of Cinderella. I chose to focus on the transformation of Ashie herself. I think that this is an interesting change, as it is all about her feelings toward herself and not just a change of clothes. She begins the scene believing she is ugly and worthless and ends it believing she is beautiful.

Another key part of this scene that I chose to include was a line that Otter says ;

‘Do you have any idea how dangerous fairies are? They’re always changing things, turning the world topsy-turvy. You’re going to change me into something, I can see it in your face.’

I like this quote as Otter is a friend to Ashie and he is almost warning her that she is beautiful the way she is, she doesn’t need the fairy to change anything about herself. She should believe in herself the way she really is.



As one of the development processes when exploring the play; Red Red Shoes, we were asked to create a sculpture. The idea being that each person within the class creates their own personal response to the play. The only brief we were given to this task was that it had to be a 3D piece, the rest was left to our imaginations.

The first thing I had to consider was; what was my response to the play? I think it is a very relevant topic in the world today. There are a lot of issues in todays society to do with refugees and racial discrimination. I think it is a topic that needs to be discussed with young people, one that they need to understand.

For my sculpture I decided to take a less literal path. I wanted to play on the setting of the play. Charles Way makes a reference to this ;

‘It would be truer to say, however that the play takes place in the head of a traumatised child’.

This stood out to me alongside another quote;

She covers her eyes and waits

and waits, and when she opens them

the boots have gone to the edges 

of the edgeless room.’

Can a room really be edgeless?

Within the play it also states that the setting is a medical centre. All these quotes led me to think about creating a more abstract response to the location of the play.

My sculpture was made up of a sphere, painted to represent the edgeless room, and a ball of wire within, intended to represent the head of a traumatised child.




After a long summer we are finally back to continue the course at Trent. This year we have a lost going on including the idea of going on a placement, alongside multiple design projects. This term we have been asked to consider children’s plays and how design can help to engage the children with the content.

The two specific plays that we are looking at are; ‘Red Red Shoes’ by Charles Way, and ‘The Ash Girl’ by Timberlake Wertenbaker. The Idea being that we either create a speculative design scheme for either of the plays, or devise and perform a short version of Red Red shoes to local school children.

Red Red Shoes:

This play is a take on ‘The Red Shoes’ by Hans Christian Anderson. The play tells a story of a young girl named Franvera, who lives to dance. On her birthday she is given a pair of red dancing shoes to aid her dream of dancing for her country. she is unaware of the turmoil that is to unfold around her. Her village is to be ransacked and anyone who was not born in the country was to be forced out. The women, children and elderly marched across the border as the men where killed within. Franvera escapes, but is left by her mother who goes back after her father. She crosses the border with other townsfolk to face more issues.

It is important to note that the play is designed to be unfolding within Franveras mind. It is disjointed and imaginitive.

The story is one of ethnic cleansing and refugees that occur so much in our society, however Way has managed to turn it into a fairy tale; arguably making it more accessible to a younger audience.

The Ash Girl:

This play is based around the famous fairytale; ‘Cinderella. Ash Girl is the main character who lives with her step mother and two step sisters. Unlike the tale of ‘Cinderella’ Ash Girl’s step mother is not a nasty one, she does not make Ash Girl stay home from the ball or spend all her time cleaning; Ash Girl decides to do this for herself.

Within this story The Prince is Indian, and has just moved to this cold foreign land to escape the turmoil of his own. The Princes mother then holds a ball to find Prince Amir a wife, and route him to this new country. The story unfolds much like Cinderella with Ash Girls step family attending, and the fairy paying a visit. Ash Girl attends and dances, leaves her shoe etc. Much like the Grimms tale the Step Mother mutilates her daughters feet to make them fit the shoe. Amir sees through this, finds Ash Girl and the story finishes with them together.

One of the main differences between ‘Ash Girl’ and ‘Cinderella’ is that Ash Girl is more about self discovery. The fairy in the mirror cannot help Ash Girl without her defeating sadness and believing that she is pretty etc. Timberlake has also incorporated the idea of the 7 deadly sins into the play, through the parts of woodland animals, this explores the idea that we all have demons that we need to defeat in order to be happy and grounded.