Week Two - The Set Model

"A country road. A tree. Evening." Beckett's ambiguous description of the setting for Waiting for Godot gives no clues, but also sets no strict rules for the set design.

Ian Brown (Director) and Paul Wills (Designer) spent many weeks discussing options for the way they wanted their production to look, including projections, advertising hoardings and complex metal gantries.

In the end, as they explained to the cast at the read through, they went for a much simpler effect, with the tree erupting through the floor and forming some ragged edges which can be used as seating or different stage levels. The costume designs hint at a migrant population who came over from their own countries and then drifted off into the margins, whilst some projection remains to help determine the time of day during the action of the play.