"Bal Box: The Musical'" Scene Design
by
Christopher Shane Dills
A Thesis Submitted in Partial Fulfillment of
Requirements of the CSU Honors Program
for Honors in the degree of
Bachelor of Fine Arts
in
Theatre Design & Technology.
College of Arts and Letters,
Columbus State University
O
0
r-
K
Thesis Advisor
W^Y^o-cJQui HfyX (KaajuJiM
Committee Member
Committee Member
CSU Honors Program Director
-v~
CSU Honors Committee Member
/i
— c^
<£\
•
VJ
Date (^-IJL-O?
Date p-lfrf*&
Date j? -&6g
Date 1 fl/l ^fa%
Date
•
Digitized by the Internet Archive
in 2012 with funding from
LYRASIS Members and Sloan Foundation
http://archive.org/details/batboymusicalsceOOdill
TABLE OF CONTENTS
Dills 1
SECTION 1: ANALYSIS
- Francis Hodge's Given Circumstances Analysis,
- Design Script Analysis,,....,
Section 2: Research Images....................
- Film Noir ........................................
- Caves ..............................................
- Meat Hooks & Revival Cross.........
- Front Doorways..............................
- Tree/Forests ....................................
- Exterior Windows................
- Weekly World News Covers ...........
- Churches.........................................
- Printing Presses...............................
- Tabloid/Newspaper Printing...........
- Revival/Tent Meeting .....................
- Slaughterhouse................................
- Warehouses
- West Virginia Topography ..............
- Wheeling. West Virginia.................
33
34
37
42
43
44
45
46
47
48
50
52
53
54
55
56
Section 3: Draftings & Paperwork..................
- Scene Ground Plans................................
- Cave Drop Elevations.............................
- Platform Elevation..............
- Front Door Elevation/Section View.
- Cage Plans ..............................................
- Shelly & Hospital Room Window Plans
- Revival Cross Plan..................................
- Rock Unit Plans......................................
- Tree Plans ...............................................
- Scene Shift Plot
- Fly Information.......................................
58
59
68
73
77
79
80
81
82
84
85
90
Section 4: Process Photos ......
Section 5: Production Photos ,
91
94
Section 6: Postmortem,...
io:
Dills 2
SECTION 1
- Analysis -
- Section I: Analysis - Dills 3
FRANCIS HODGE'S GIVEN CIRCUMSTANCES:
A. Environmental Facts
1. Geographical Location: The Exact Place
Hope Falls. West Virginia, Population 500
2. Date: Year, Season, Time of Day. What is significant about the date?
Present (2008), Fall at the beginning of the play and progresses into Spring by the
beginning of act two and the revival. Time of day is generally midday except for the
Christian Charity until the end of Dance with Me, Darling. During this portion of act one
it is night time and it is storming, Hence the lightning flashes and power outages called
for in the script and stage directions. The end of act two, when the towns people and Bat
Boy are at the mouth of the cave, is also at night, or dusk.
3. Economic Environment: Money, class level, state of wealth or poverty. What does
economics mean to the characters? If you don't think economics matters to the
characters, think again.
Hope Falls, West Virginia is in economic turmoil, the coal mines have closed up and
the people have turned to raising cows to earn their living. The problem is that the cows
are not large enough, according to government regulations, to slaughter. Not to mention
that the cows have suddenly begun to die due to what they are calling a "plague". There
are twenty-three dead cows and they are looking for a reason, any reason, to place the
blame upon. Edgar arrives on the scene and is a convenient outlet to place the blame
upon. He is different, an outcast, and that scares the townspeople.
Francis Hodge's Given Circumstances Analysis
- Section 1: Analysis - Dills 4
4. Political Environment: The specific relationship to the form of government and laws
under which the characters live. Does the political setting and its law s affect the
behavior of the characters? Look carefully throughout the script, for the author
may be taking given circumstances for granted on the assumption that those who
read the play will understand the context. If you do not think politics matters to the
characters, think again, harder. It does.
The economic situation in Hope Falls has put pressure on the mayor and the sheriff
to come up with a solution and when Edgar is placed as the cause of the plague they are
pressured into killing him. If Edgar is dead then the plague will end and the cows can
grow big enough to slaughter, or so they believe. This pressure is clearly expressed in
Another Dead Cow and Christian Charity (Reprise). This clearly shows that government
is easily pressured into caving into what its constituents desire. Small town America
is more subject to this than any place else. The people are so limited and trapped by
their small town that they cannot see a bigger picture of things that are different and that
different is not necessarily a bad thing.
5. Social Environment: The specific characters in this play and how they function
together or do not. Friendships and love relationships.
There is a very tense social environment in the town of Hope Falls, West Virginia. The
townsfolk cannot accept something that is different. It scares them, Edgar scares them,
They come to blame him for the plague and they are easy to accept his responsibility
because of their narrow mindedness.
The townsfolk want the sheriff to kill the bat boy or they will run against him in the
next election and kill the bat boy themselves.
Meredith and Dr. Parker are going through a rough patch. She has not been romantic
- Francis Hodge's Given Circumstances Analysis -
Section 7; Analysis - Dills 5
with him for quite some time and this has driven him to drinking and going out a lot.
Generally spending a lot of time away from the house. This could also be because of the
circumstances surrounding why he married Meredith and what Shelly reminds him of.
This being Edgar. T hings seem to be turning around for Dr. Parker and Meredith when he
agrees to help keep bat boy alive and Meredith agrees to sleep with Dr. Parker. She is just
using him though and this drives Dr. Parker over the edge towards what happens at the end
of the play.
The Taylor family represents the townspeople of Hope Falls. They seem to be the
author's way of verbalizing the way the townsfolk feel. They hate Edgar because of what
is happening to Ruthie Taylor and later into the play because of the deaths of Ron and
Rick.
Edgar and Shelly fall in love with each other. This could be because Edgar is nice to
Shelly and treats her right. Something Rick Taylor, her former boyfriend, did not. Or
it could be because they have some sort of psychological connection due to the fact that
they are half brother and sister. While this relationship appears sweet and romantic to the
novice, outside viewer, it is also socially wrong and unacceptable in many ways.
Meredith has an odd bond with Bat Boy from the very beginning. This is explained by
the end of the play because she is Edgar's mother.
6. Moral Environment: Formal and informal psychological controls. What is
considered "right" and "wrong." Accepted codes of religious or spiritual beliefs.
Who controls those?
'"Right and Wrong" and what that means is precisely what is being questioned in
this musical. The townspeople are very much what is considered right wing, Christian
fanaticals. They cannot accept anything that is different than themselves. Something that
- Francis Hodge's Given Circumstances Analysis -
- Section 1; Analysis - Dills 6
is exactly opposite of what is commonly considered the Christian way of life. Edgar just
wants to be accepted and to find out who he is. He seems to be living a more "Christian"
way of life than the townspeople.
Morals are also questioned via the intercourse/rape between Thomas and Meredith.
This being sexual intercourse outside of wed-lock and how Thomas felt obligated to marry
Meredith after he found out that she was pregnant. Morals are also questioned by the
relationship between Edgar and Shelly and how it is verging on incest.
B. Previous Action
1. What has happened before the present action begins. Explore how the past plays
a part in propelling the present action, intruding upon the present and catching it off
guard.
The coal mines closed in Hope Falls, West Virginia and the townspeople turned to raising
cows on the side of a mountain as their way of life and the means in which to get by. This
provides the source of tension in the musical and the conflict but the entire action of this
musical relies on one event. That event is the rape of Meredith by Thomas and bats and how
that resulted in the birth of Edgar and Shelly.
2. Description of the stasis up to the beginning of the play. What might happen if the
stasis continued? Stasis is defined as "a state of static balance or equilibrium",
Up to the beginning of the play the townspeople were looking for a way out, some way
to live by. Everything they know is falling apart around them. Also. Meredith and Thomas
seem to just be going through the motions of marriage out of some sense of obligation. If
Edgar had not shown up, then Thomas and Meredith might have continued with their facade.
Shelly would have continued to date Rick and been abused. The catharsis of the townspeople
■ Francis Hodge's Given Circumstances Analysis -
- Section 1: Analysis - Dills 7
that occurs through this story would not have happened if the bat boy had not shown up.
3. The intrusion: Describe the "something" that upsets the stasis.
The Taylor kids repelling down into the cave that the bat boy is living in, bat boy biting
Ruthie. and his subsequently being brought into town is what upsets the "stasis".
C. Polar Attitudes of the Principal Characters: Every character in a play is conditioned
by the world of his or her own prejudices, tolerances and intolerances, assumptions and
"hang-ups." In the course of a play principal characters do not change in character as
mueh as their attitudes change under pressure from forces outside their control. The
development in a play's action is composed, therefore, of the changing attitudes in the
principal characters towards their inner environment and towards their special world.
It is usually easier to find the initial pole for each character by noting what happens to
his or her character at the end.
Edgar (Bat Boy): Innocence to confused hatred
Meredith Parker: Loss/Remorse to Ownership/Responsibility
Dr. Thomas Parker: Yearning to Anger to Regret
Shelly Parker: Searching to Revelation
The idea of a small town is very important. While Hope Falls is not an actual town in
West Virginia. Wheeling, which is mentioned in the play, is. I utilized an article on Wheeling,
West Virginia to get a better idea of what the town looks like and what its demographics are.
This article helps relate the fictional world of the play to present, actual, locations.
- Francis Hodge's Given Circumstances Analysis
- Section 1: Analysis - Dills 8
RESOURCES USED IN FRANCIS HODGE'S GIVEN CIRCUMSTANCES:
Google Image Search, 28 April 2008. http://images.google.com
"Wheeling. West Virginia." Wikipedia: The Free Encyclopedia. 27 April 2008.
28 April 2008. http://en.wikipedia.org/wiki/Wheeling, West Virginia
Francis Hodge's Given Circumstances Analysis
- Section I: Analysis - Dills 9
DESIGN SCRIPT ANALYSIS
1. Note the first impressions: how you sense the play or how you feel about it. It may
pertain to the whole play or speeific scenes.
a. If sensations occur as reactions to scenes give them a form.
See research images for visual impressions of the play and justification for their relevance,
b. If it feels a certain way, i.e. cold, brittle, try to put an image to it.
See research images for visual impressions of the play and justification for their relevance.
2. Take note of the following things:
a. Synopsis - this outlines the play's acts, scenes or parts, referring to the specifics of
location and time.
A boy who is half-bat half-human is found, captured, and taken to the town of Hope
Falls. West Virginia. He is not accepted and thought to be the cause of a cow plague. He
becomes more and more human but Thomas Parker will not have it. Dr. Parker kills Ruthie
Taylor and convinces the townspeople that the bat boy did it through his bite and that the bat
boy is indeed responsible for the plague. The townspeople take matters into their own hands
and hunt down the bat boy. He cannot have any sort of happiness, not even Shelly, who turns
out to be his half sister. It is impossible for him to be accepted know matter what he does
or how hard he tries. Ultimately Thomas Parker slits his own throat, then kills bat boy, then
accidentally Meredith, leaving Shelly alone with the townspeople to lament about the loss
and the prejudice.
- Design Script Analysis
- Section 1: Analysis - Dills 1 0
b. List of Characters
1. Note the number of characters and whether the author intended actors to
double-up on parts. Note how many characters are on stage at the same time - the
maximum number on stage.
BAT BOY: Also referred to as "Edgar." A bat boy,
MEREDITH PARKER: Wife to Thomas.
THOMAS PARKER: Also referred to as "Doctor Parker." The town veterinarian,
Husband to Meredith,
SHELLEY PARKER: The rebellious daughter of Thomas and Meredith. Girlfriend of
Rick,
SHERIFF REYNOLDS: The local sheriff, coming up for re-election. Sometimes doubles
as Delia.
RICK TAYLOR: A rowdy, spelunking teenager. Kin to Ron and Ruthie. son of Mrs.
Taylor. Boyfriend of Shelley, Commonly doubles as Lorraine and Mr.
Dillon.
RON TAYLOR: A rowdy, spelunking teenager, brother of Rick, and Ruthie, son of Mrs,
Taylor. Commonly doubles as Maggie,
RUTHIE TAYLOR: A rowdy, spelunking teenager. Youngest of 3. Kin to Rick and Ron,
daughter of Mrs, Taylor. Commonly doubles as Ned,
MRS. TAYLOR: An overprotective, aggressive mother. Mother of Rick, Ron, and Ruthie,
Usually a drag role. Commonly doubles as Reverend Hightower and
Roy.
LORRAINE: A townswoman, Commonly doubles as Rick (a male drag role when
performed this way) and Mr. Dillon.
DELIA: A townswoman. Sometimes doubles as Sheriff.
- Design Script Analysis -
- Section 1: Analysis - Dills 1 1
MAGGIE: The mayor of Hope Falls. Commonly doubles with Ron.
DAISY: A townswoman. Commonly doubles as Bud and Pan,
MR. DILLON: a rancher. Sometimes doubles as Lorraine and/or Rick.
BUD: A rancher. Commonly doubles as Pan and Daisy.
NED: A rancher, often played by a woman in drag. Commonly doubles as Ruthie.
ROY: A townsman. Often doubles as Mrs. Taylor/Rev. Hightower.
CLEM: A townsman
REVEREND BILLY HIGHTOWER: A preacher and faith healer who holds a travelling
Tent Revival/Barbecue. Commonly doubles as Mrs.
Taylor and Roy.
PAN: The Greek goat-god of nature. Commonly doubles as Bud and Daisy.
VARIOUS WOODLAND ANIMALS: Appear in ( Wdren Children
BATS: Appear in flashback sequence
YOUNG MEREDITH: Meredith in a flashback sequence. Commonly played by Meredith
herself.
MEREDITHS FATHER: In a flashback
MEREDITH'S MOTHER: In a flashback
A DOCTOR: commonly doubles with Bud/Daisy/Pan,
INSTITUTE MAN: commonly doubles with Mrs. Taylor/Roy /Hightower.
CHORUS: singer/dancers, additional townsfolk
There are many different formats that the cast could be arranged in. Double casting
seems to be common in this musical. The double casting could be the writer's way of
commenting on how people have many different personalities or perhaps how people are
all alike and act as a mob. The double casting could also be a way to show how this story
- Design Script Analysis -
Section 1: Analysis - Dills 1 2
is being told from Edgar's viewpoint. The songs. Hold Me, Bat Boy Another Dead C Vni;
Christian Charity Reprise, Comfort and Joy Make a Joyful Noise, Children, Children.
and the Finale have the most people in them. Most of the numbers and scenes are just the
Parkers and Bat Boy.
c. Act or Scene Descriptions
I. Note what happens in each scene/act.
ACT1
THE CAVE: The Taylor children climb into the cave, they find the bat boy. the bat
boy bites Ruthie. they take the bat boy into Hope Falls.
HOLD ME, BAT BOY: Townspeople appear and sing about the plight of the bat
boy. The Taylor children and then the sheriff take the bat boy through the town
occasionally showing him to enquiring townspeople.
LIVING ROOM CUE: The sheriff arrives at the Parker house with the bat boy in
tow. The relationship between Shelly Parker and Rick Taylor is introduced.
CHRISTIAN CHARITY: The sheriff convinces Meredith and Shelly Parker to keep
the bat boy until Dr. Thomas Parker gets back home and can decide what to do with
the bat boy.
UGLY BOY: The bat boy is being unruly in the cage and driving Shelly nuts.
WATCH A WANNA DO?: Rick comes to the Parker house and taunts the bat boy.
Meredith kicks Rick out of the house, This is the beginning of the end of the
relationship between Shelly and Rick.
A HOME FOR YOU: Meredith wants to find out what will make Edgar happy, what
he needs. She is being motherly to him. Does she already suspect that she is his
mother?
- Design Script Analysis -
- Section 1; Analysis - Dills 1 3
ANOTHER DEAD COW: The townspeople express concern over the health of their
cows and the plague. They begin to point the blame for the plague towards Edgar.
DANCE WITH ME. DARLING: Meredith and Dr. Parker strike a deal for Dr. Parker
to keep Edgar happy and alive. This means blood. The rough relationship between
Meredith and Dr. Parker is brought to light.
MRS. TA ) L OR 'S L ULLA B ) ': In Ruthie's hospital room. The Taylor family threaten
the sheriff to do something about the bat boy or they are going to take matters into
their own hands.
SHOW YOU A THING OR TWO: The evolution of Edgar into an acceptable young
boy. This song covers an extended period of time.
CHRISTIAN CHARITY (REPRISE): In the town hall. The townspeople confront Dr.
Parker about not bringing Edgar to the revival.
MAY 1 HAVE THIS DANCE?: The romance between Shelly and Edgar is hinted at.
Dr. Parker confronts Meredith about not bringing Edgar to the revival.
A HOME FOR YOU: Meredith shares her resolve to bring Edgar along with Shelly to
the revival despite Dr. Parker's and the townspeople's objections.
PARKER'S EPIPHANY. Dr, Parker realizes that he has lost Meredith, that she cares
more about Edgar than she does about him. He resolves to get his revenge on Edgar,
COMFORT AND JOY: Dr. Parker kills Ruthie and the townspeople reveal their
concern about Edgar and the fate of the town.
ACT 2
A JOYFUL NOISE: The townspeople come to the revival tent in the woods outside of
the town of Hope Falls to hear Reverend Hightower.
COME ON DOWN!: Reverend Hightower invites everyone to come down and be
- Design Script Analysis -
Section 1: Analysis - Dills 14
healed, He asks who wants to be healed, Edgar and the Parkers, minus Thomas,
arrive at the revival and Edgar expresses interest in being healed. Everyone is
shocked that he showed up at the revival, Thomas had promised that he would not
allow Edgar to come.
LET ME WALK AMONG YOU: Edgar tries to sway the townspeople into accepting
him as an equal and to give him a chance.
A JOYFUL NOISE (REPRISE): The townspeople agree to give Edgar and chance and
Reverend Hightower "heals" Edgar.
ALL HELL BREAKS LOOSE : Dr. Parker arrives at the revival and ruins the party.
He tells everyone that Ruthie Taylor is dead and that it is because of the bite that
Edgar gave her. Thomas Parker also tells how it is Edgar who is responsible for the
cow plague. These two pieces of information cause the townspeople to turn on Edgar.
Rick Taylor attacks Edgar, trying to kill him. The final break up of Shelly and Rick
is witnessed. The love of Edgar by Shelly is sealed/very clear. Edgar bites him and
Thomas takes advantage of this to kill Rick like he killed Ruthie.
STOP THE BAT BOY!: This information and now Rick's death cause the
townspeople to form a Frankenstein style lynch mob to hunt down Edgar and bring
him to "justice".
THREE BEDROOM HOUSE: Meredith and Shelly head off into the woods, away
from Thomas. They are looking for Edgar. Meredith outlines her plan to leave
Thomas and get a house for herself. Shelly, and Edgar. Shelly expresses her love for
Edgar and how she wants to marry him. Meredith will not hear any of this and says it
is wrong. Shelly runs away from Meredith. She is going to be with Edgar no matter
what.
BABE IN THE WOODS : Edgar finds Shelly in the woods and they express their
- Design Script Analysis *
Section 1: Analysis- Dills 15
love for each other.
CHILDREN, CHILDREN: Pan appears along with other forest animals and
encourages Shelly and Edgar to "express" their love for each other. It is implied that
they "sleep" together.
BURN, YOU FREAK. BURN : Ron Taylor arrives at the Slaughterhouse and thinks
that Edgar is inside of it. Some of the townspeople arrive a little later and think Ron
is Edgar. Mrs. Taylor goes so far as to throw a torch into the slaughterhouse and
burns it down. She kills her own son.
MORE BLOOD/KILL THE BAT BOY!: The death of Ron Taylor further encourages
the townspeople to kill Edgar. They seem to be blind with rage and unwilling to hear
reason.
INSIDE YOUR HEART: Shelly and Edgar further seal their love for each other.
Shelly offers her blood to Edgar to keep him healthy, Edgar reluctantly accepts.
IS ALL THAT YOU TAUGHT ME A TIE?: Meredith arrives and stops Edgar from
biting Shelly. Edgar confronts Meredith about how can she stop him from loving
Shelly. Meredith tells Edgar how she is his mother. This drives Edgar away from
both Shelly and Meredith. Incest is revealed.
APOLOGY TO A COW: Edgar has killed a cow. He does not want to but he is now
going to do what the townspeople expect him to be. He is going to be a savage, If he
is going to be persecuted for being a freak he is going to be a freak.
HELLO, FATHER : Dr. Parker and some townspeople find Edgar with the cow.
Edgar confronts Thomas about how he is his father. The truth is revealed to the
townspeople.
REVELATIONS : The past is relived/told to the townspeople about how Thomas
was developing pheromones, there was an accident, bats raped Meredith, Edgar and
- Design Script Analysis -
- Section /. Analysis - Dills 1 6
Shelly were conceived. Thomas reluctantly married Meredith out of obligation, and
how Thomas took Edgar to kill him but could not. He left him at the mouth of a cave
for him to die but he did not. Bats took Edgar in and raised him.
FINALE: I IMAGINE YOU'RE UPSET: Meredith tries to make it right with Edgar
but there is no hope of this. Thomas is going to do what he should have done a long
time ago.
FINALE: 1 AM NOT A BOY: Edgar just wants to be left alone. He does not fit in with
the townspeople, He wishes he had never learned anything about living and being
human. Thomas slits his own throat, when Edgar goes to drink his blood he stabs
Edgar, Meredith tries to stop Thomas but Thomas accidentally stabs Meredith too.
Shelly is the only one left alive.
FINALE: HOLD ME, BAT BOY: Shelly and the rest of the townspeople lament about
the loss of Edgar and how he was never understood and that people should be more
understanding of things that are different than themselves.
3. Questions to Ask Yourself
a. Does any one moment have significance over another? In what way does the play
build up or down?
There are three moments that have the most significance in the action of the play. These
three moments are Show You a Thing or Two when Edgar evolves, the revival when the
townsfolk accept Edgar as an equal, and lastly in the Finale when the truth comes out about
the Parkers and Edgar, when Thomas finally takes responsibility for what happened.
The play is cyclical in its structure. The action begins in the cave, goes to the town, and
then travels back to the cave. It builds towards Edgar's acceptance in the middle of the play
at the revival, which is just after intermission, and falls apart until we reach the cave again.
- Design Script Analysis -
- Section 1: Analysis - Dills 1 7
The cave seems to be the only place where the truth is told and where people do not hide
behind a social facade. It is a place where civility can be found, not in the town where the so
called civil people live. The wild live in the man made town, the civil in the wilderness and
unknown of the forest and cave,
b. Is there a balance in the emotion throughout? Hon expressive is this language, how
colorful?
There is a broad range of emotion that is exhibited in the musical. Some examples of
these and their range are exhibited in What You Wanna Do, A Home For You, A Joyful Noise,
and the beginning of the Finale. What You Wanna Do shows hatred and bigotry. A Home
For You shows longing and compassion. A Joyful Noise shows rejoicing, happiness, and
acceptance. The beginning of the Finale also shows hatred and an eagerness to jump to
conclusions and to take the easy way out.
c. Is there an atmosphere in terms of being hot or cold? How contrasting are the
scenes?
There is a definite cold and dark atmosphere to the play. The cave and the darkness
found in them seem to be an over arching motif in the play. The darkness and the unknown
that lie within it are always present in the action of the play. Edgar does not know what he is
venturing into, the darkness, but yet he is venturing into it. The question to ask is whether he
is doing this willingly. All of the scenes have this motif, unknown based in reality by solid
scenic pieces.
d. What themes run through each scene? Is there an overall theme?
ACT1
■ Design Script Analysis -
- Section 1: Analysis - Dills 1 8
THE CAVE: Ignorance, arrogance, domineering, overwhelming, confusion,
uncertainty, unknown, questioning
HOLD ME, BAT BOY: Exploration, exhibition, dominance, belittling
LIVING ROOM CUE: Naivety, control, structure, rules
CHRISTIAN CHARITY: Uncertainty, hope, curiosity
UGLY BOY: Frustration, anger, bitterness
WATCHA WANNA DO?: Hatred, anger, sex, passion
A HOME FOR YOU: Love, remorse, hope, longing
ANOTHER DEAD COW: Uncertainty, questioning
DANCE WITH ME, DARLING: Control, manipulation, lust
MRS. TA YLOR 'S L ULLA B Y: Anger, love, tenderness, revenge
SHOW YOU A THING OR TWO: Love, teaching, hope, happiness
CHRISTIAN CHARITY (REPRISE): Uncertainty, hope, controlling
MAY I HAVE THIS DANCE?: Love, happiness
A HOME FOR YOU: Love, happiness, joy
PARKER'S EPIPHANY: Anger, revenge
COMFORT AND JOY: Anger, revenge, control, hatred
COMFORT AND JOY (PART II): Anger, revenge, control, hatred, confusion
ACT 2
A JOYFUL NOISE: Joy, happiness, hope
COME ON DOWN!: Hope
LET ME WALK AMONG YOU: Longing, hopeful, begging
A JOYFUL NOISE (REPRISE): Joy. acceptance, happiness
ALL HELL BREAKS LOOSE : Confusion, uncertainty, anger, bitterness, chaos
- Design Script Analysis -
Section 1: Analysis - Dills 1 9
STOP THE BAT BOY!: Anger, hatred, revenge, confusion, chaos
THREE BEDROOM HOUSE: Uncertainty, longing, regret, hope, optimism
BABE IN THE WOODS : Love, hope, longing, optimism
CHILDREN, CHILDREN: Love, hope, longing, happiness, optimism
BURN, YOU FREAK, BURN : Anger, uncertainty, chaos
MORE BLOOD/KILL THE BAT BOY!: Anger, hatred, chaos
INSIDE YOUR HEART: Longing, remorse, regret, hope, optimism
IS ALL THAT YOU TAUGHT ME A LIE?: Confrontation, loss, confusion, hate,
longing, hope
APOLC )G ) ' TO A I X) W: Confusion, regret, remorse, giving in
HELLO, FATHER : Confrontation, anger, confusion, regret, remorse, loss
REVELATIONS : Regret, remorse, loss, acceptance, reluctance
FINALE: 1 IMAGINE YOU'RE UPSET: Regret, remorse, loss, upset
FINALE: I AM NOT A BOY: Regret, remorse, loss, confusion
FINALE: HOLD ME, BAT BOY: Hope, regret, remorse, loss
There is a definite recurring theme of uncertainty, hatred, bitterness, longing, and regret
throughout the show. The show builds from confusion, uncertainty, and hatred to joy and
hope and then devolves back into confusion, uncertainty, hatred and chaos through the
end of act two. This further emphasizes the cyclical structure of the play.
e. Is there an apparently fragile or solid structuring?
There is solid structuring. There is a clear journey from the cave, to the town, and then back
to the cave. The evolution of the bat boy is parallel to this journey. The cave is inescapable,
no matter how hard Edgar tries or how far he ventures into the "civilized'' world he is who he
- Design Script Analysis -
- Section 1: Analysis - Dills 20
is and he finally realizes this by the end of the play and he is okay with it,
f. Does the portrayal of life seem to rise, fall, tilt, or sway?
The portrayal of life is thoroughly examined in the show. The play examines how an
outcast can be taken into an unknown world and made to be a part of it Or more importantly
how one really can never get rid of who you truly are. No matter how hard Edgar or
the Parkers try, Edgar is and will always be a bat boy who needs blood. Is it okay to be
different? Who is more civilized Edgar or the townspeople? Edgar is innocent and wanting
to learn while the townspeople are so jaded, prejudiced, and begetting that they cannot accept
anything or anyone that is different than themselves.
g. How can you best describe the various moods created by each situation?
The play is a roller coaster ride of moods. Dark and mysterious full of hate and fear in
Another Dead Cow to bright and joyful full of love in Children, Children. This reflects the
many different aspects of people and how situations effect them.
h. Are you more focused on one aspect, one issue or one scene?
I am most focused on how Edgar cannot escape his roots no matter how hard he tries.
Also, the commentary on who is more civilized, the townspeople or Edgar?
i. What quality of light is there? Are there dark secrets?
There is a dark and mysterious quality to the light in the play. The mysterious quality
of the unknown that lives in the darkness. Edgar is venturing into the unknown world of
civilized man. Is the town of Hope Falls really civilized or is the forest and the cave the
place for truth and acceptance? An art style named Chiaroscuro plays with the idea of light
- Design Script Analysis -
- Section 1: Analysis - Dills 21
and its qualities This led me to the film style ealled Film Noir. The most notable example
of the film noir style is Orson Welle's Citizen Kane, Film Noir is shot entirely in black and
white and this pays homage to the Weekly World News which is the tabloid who originated
the story of Bat Boy, All of their issues are printed in black and white ink.
j. What are the most obvious historical period details?
This play is placed in present day. It is interesting that it has a depression time period feel
to it. The townspeople are in an economic struggle and are looking for any way out. They
seem to be stuck in the past.
k. Do you feel spatial relations? Are people and scenes huddled together, or spread out
and airy?
The play seems small, intimate, and huddled together. Huddled together is a good
descriptive choice for the play seeing as how secrets and talking about people behind their
backs is prevalent in the play and this action is commonly done in groups of people who are
huddled together. There is a since of confusion and clutter in the play. What is right, what is
wrong and who actually defines these terms. The cave is dark and full of unknown twists, the
bat boy's life is like the cave, jumbled, confusing, dark, mysterious, and unknown.
1. Which places from your experiences and memory come to mind from one location,
then another?
One place in particular reminds me of Hope Falls, West Virginia and the setting of Bat
Boy: The Musical. This would be the town of Franklin, North Carolina, where my family is
from and many of them still reside.
Design Script Analysis -
Section 1: Analysis - Dills 22
m. What does it remind you of?
Franklin is a small town in a very rural part of North Carolina that relies on a very few
big businesses to keep the town afloat. Lumber is the big business in Franklin, this is just
like the coal mines in West Virginia, If the lumber company was to fail, the townspeople
would be at a loss for how to make a viable living
n. How do the issues measure up against one another? Is there weight or mass to
them? What is hollow?
The issue of prejudice and bigotry, being okay with who you are. and the struggle with
what does civilized and wild really mean are the most important issues presented in the
musical, The civilized and prejudice factors have the most weight, The jungle of mankind is
always looming over the story and the characters.
o. What appears positive, what negative?
The terms positive and negative reminds me a lot of Film Noir and the art term
Chiaroscuro, These motifs and artistic styles tie in with the dark and mysterious imagery
presented in the musical. They would be a good way to manifest these themes and motifs
visually. See the research images and documents for more information on these styles.
p. How does the play make you feel in terms of happiness or sadness?
This musical makes me sad. No matter how hard Edgar tried he was never accepted, he
searched and searched for who he was and for acceptance to never find it. The townspeople
are nothing more than a mob who cannot think for themselves and this makes me worry
about the state of people and society. This musical is a commentary on society, prejudice,
bigotry, and the eagerness to point fingers,
- Design Script Analysis -
- Section 1; Analysis - Dills 23
q. What may contribute to your favoring an issue or character?
The hatred, the prejudice, and the unwillingness to accept something that is different
contributes to liking Edgar and identifying with him. As a theatre major, perusing something
that is considered a mistake when it comes to a viable career, I have to overcome adversity
and people saying that my career choice is a mistake. I have to stand by who I am, just like
Edgar, and fight for what I believe in.
r. How do the characters balance out to one another? Do any appear as odd geometric
shapes, or remind you of an animal?
BAT BOY: Also referred to as ''Edgar." A bat boy.
MEREDITH PARKER: Wife to Thomas.
THOMAS PARKER: Also referred to as "Doctor Parker." The town veterinarian.
Husband to Meredith.
SHELLEY PARKER: The rebellious daughter of Thomas and Meredith. Girlfriend of
Rick.
SHERIFF REYNOLDS: The local sheriff, coming up for re-election. Sometimes doubles
as Delia.
RICK TAYLOR: A rowdy, spelunking teenager. Kin to Ron and Ruthie, son of Mrs.
Taylor. Boyfriend of Shelley. Commonly doubles as Lorraine and Mr.
Dillon.
RON TAYLOR: A rowdy, spelunking teenager, brother of Rick, and Ruthie, son of Mrs.
Taylor. Commonly doubles as Maggie.
RUTHIE TAYLOR: A rowdy, spelunking teenager. Youngest of 3. Kin to Rick and Ron,
daughter of Mrs. Taylor. Commonly doubles as Ned,
- Design Script Analysis -
Section 1: Analysis- Dills 24
MRS. TAYLOR: An overprotective, aggressive mother. Mother of Rick, Ron, and Ruthie.
Usually a drag role. Commonly doubles as Reverend Hightower and
Roy.
LORRAINE: A townswoman. Commonly doubles as Rick (a male drag role when
performed this way) and Mr. Dillon.
DELIA: A townswoman. Sometimes doubles as Sheriff,
MAGGIE: The mayor of Hope Falls. Commonly doubles with Ron.
DAISY: A townswoman. Commonly doubles as Bud and Pan.
MR. DILLON: a rancher. Sometimes doubles as Lorraine and/or Rick.
BUD: A rancher. Commonly doubles as Pan and Daisy.
NED: A rancher, often played by a woman in drag. Commonly doubles as Ruthie.
ROY: A townsman. Often doubles as Mrs. Taylor/Rev. Hightower.
CLEM: A townsman
REVEREND BILLY HIGHTOWER: A preacher and faith healer who holds a travelling
Tent Revival/Barbecue. Commonly doubles as Mrs.
Taylor and Roy.
PAN: The Greek goat-god of nature. Commonly doubles as Bud and Daisy.
VARIOUS WOODLAND ANIMALS: Appear in Children. Children
BATS: Appear in flashback sequence
YOUNG MEREDITH: Meredith in a flashback sequence. Commonly played by Meredith
herself.
MEREDITH'S FATHER: In a flashback
MEREDITH'S MOTHER: In a flashback
A DOCTOR: commonly doubles with Bud/Daisy/Pan.
INSTITUTE MAN: commonly doubles with Mrs. Taylor/Roy/Hightower.
- Design Script Analysis -
Section 1: Analysis- Dills 25
CHORUS; singer/dancers, additional townsfolk
s. Are some characters more colorful Chan others, do they have a relationship to
texture?
Meredith and Dr. Thomas Parker are more colorful than others. Their relationship and
rough history really add a rough texture to their lives. A texture that most would not want
to touch or live through but that still has an appealing quality to it. Perhaps like a surface
coated with shattered glass. It is pretty to look at but when you actually touch it or live their
relationship it will cut you and be very unpleasant.
t. What friends or family come to mind for characters?
Meredith reminds me of my own mother and 1 would argue every mother That is the
idea of her character, the audience must be able to identify with her. Most every mother just
wants the best for her children and to make people happy. The comment about how Meredith
cries every time a stray dog dies is very telling.
The townspeople remind me of many people who live in small towns especially in the
southeastern area of the United States. My family is from a small town in Western North
Carolina. A town where everyone generally knows everyone else and are very nosey. When
people move into my family's home town everyone knows about it. Especially if they are
from a very different part of the country or the world. It was not until the very recent past
that ethnic food restaurants began to appear in the town.
u. Is there a quality of line which can best express character and location? What
quality of line suggests the differences between characters? Is one more fine and ornate
like a scribble, another greyer and woollier like a smudge?
- Design Script Analysis -
- Section 1: Analysis - Dills 26
This play, its characters, and their relationships can best be described as two dark, bold,
perfectly straight parallel lines. They are two very pronounced, distinct markings/beings
that look and behave very similarly yet never cross and cannot cross by definition, One line
would represent Edgar and the wilderness/cave that he came from and the Townspeople and
the manmade urban jungle of a town that they come from.
v. The tensions that arise between characters can be best expressed in which kind of
visual mark?
The tension of something that is different and unknown infiltrating what is comfortable is
the unavoidable conflict in the action of the musical, This can be best described via a visual
marking in the form of parallel lines like previously stated.
4. Research the author in more detail.
LAURENCE O'KEEFE (MUSIC AND LYRICS)
Also known as Larry, is a composer and lyricist for Broadway musicals, film and
television. Until recently he was best known for writing the score for Bat Boy: The Musical,
which ran off-Broadway from March 3 to December 2, 2001, followed by over 200 regional
and amateur productions all over the USA. Bat Boy received eight Drama Desk Award
nominations, including nods for Outstanding Music and Outstanding Lyrics, and won both the
Lucille Lortel Award and the Outer Critics* Circle Award for Best Off-Broadway Musical.
In 2001 . O'Keefe received the Jonathan Larson Performing Arts Foundation Award. In
2004 O'Keefe won the Ed Kleban Award for Outstanding Lyrics, a $100,000 prize. There
are two Kleban Awards every year, one given to a lyricist, the other to a book writer. There is
no Kleban award for composers. In American arts and letters, only the Pritzker Architecture
Prize and the MacArthur Foundation "genius grants01 come with a bigger purse.
- Design Script Analysis -
- Section 1: Analysis - Dills 27
Bat Boy opened at the Shaftesbury Theatre on London's West End on September 8, 2004.
and ran till January 12, 2005, Bat Boy has also been produeed to acclaim in Seoul. South
Korea, and Tokyo and Osaka in Japan, and at the Edinburgh Fringe Festival.
With his wife and co-writer Nell Benjamin, O'Keefe has also written two musicals for
Theatreworks USA: Cam Jansen, and Sarah, Plain And Tall. Benjamin and O'Keefe also
collaborated on a short musical entitled The Mice, which was produced by Hal Prince as a part
of the three-show evening 3hree in Philadelphia, in 2000. Benjamin is also a Kleban Award
winner for her lyrics,
O'Keefe and Benjamin's current project. Legally Blonde: The Musical, opened in San
Francisco in February 2, 2007, and opened on Broadway at the Palace Theatre on April 29.
2007 and closed on October 19, 2008. For their work on Legally Blonde, they received
Drama Desk nominations for Outstanding Music and Outstanding Lyrics, as well as a Tony
Award nomination for Best Score.
O'Keefe is a graduate of Harvard College, where he studied anthropology and was an
active member of the Harvard Lampoon and the Krokodiloes. He got his start in musical
theater through Harvard's Hasty Pudding Theatricals, performing in two of the Pudding's
drag burlesques, composing two others (notably Suede Expectations, book by Mo Rocca), and
penning the libretto of a fourth (Romancing the Throne).
BRIAN FLEMMING (BOOK)
Brian Flemming (born 6 June 1966) is an American film director and playwright.
Flemming was born and raised in the San Fernando Valley and studied English at the
University of California. Irvine.
Flemming worked as a script reader for New Line Cinema while making his first feature
film. Hang Your Dog in the Wind in 1997. To promote his film. Flemming co-founded a film
- Design Script Analysis -
■ Section 1: Analysis - Dills 28
festival in Park City. Utah, called "the Slumdance Film Festival", a pun on the name of the
Slamdance Film Festival (which in turn referred to the Sundance Film Festival).
Slumdance brought Flemming to the attention of independent film maker John Pierson,
who previously discovered Spike Lee. Michael Moore, and Richard Linklater. among others,
Pierson later hired Flemming to work as a director and segment producer for Pierson's
Independent Film Channel magazine-style show called Split Screen, which also featured a
segment about Hang Your Dog in the Wind,
In 1999 Flemming created an audio documentary. The Rabbi vs. Larry Flynt, about a
debate on pornography between Rabbi Shmuley Boteach and Larry Flynt,
Bat Boy: The Musical is based on a story about a half-bat half-boy from the tabloid
Weekly World News. Flemming co-wrote Bat Boy with Keythe Farley and Laurence O'Keefe.
The musical grew from small beginnings in a Los Angeles theater called the Actors" Gang
to winning LA Weekly's Musical of the Year Award for 1997, plus four Ovation Award
nominations and six Drama-Logue Awards.
Bat Boy: The Musical made its way to Off-Broadway in March 2001 , where the play won
the Lucille Lortel Award for Best Musical, the Outer Critics Circle Award for Best Musical
Off-Broadway and six Drama Desk nominations. The Neyr Yorker described Bat Boy as, a
"giggling cult hit". The New York Times wrote, "It is astonishing what intelligent wit can
accomplish", The musical ran in New York through December 2001 and has since been
staged thousands of times throughout the world, in several languages.
Flemming's second feature film, a faux documentary about the assassination of Bill Gates
called Nothing So Strange which debuted at the 2002 Sundance Film Festival. Variety called
it. "a crackling good movie,., [that] may be the ideal prototype film for the digital age". The
film won the Claiborne Pell New York Times Award for Original Vision at the 2002 Newport
Film Festival and received international media exposure. Bill Gates said through a spokesman
- Design Script Analysis ■
Section 1: Analysis- Dills 29
that he was "very disappointed that a movie maker would do something like this".
After failing to obtain a major studio distributor, Flemming and his co-producers chose
to distribute the film themselves. On 23 October 2003 the film had a simultaneous debut
in theaters and as an Internet download, becoming the first film ever to be commercially
available in all countries at the same time. In April 2004. the film was released on DVD and
is now available in more than 200 countries.
In addition to working in film and theater. Flemming is an activist on copyright issues,
He has released Nothing So Strange as an "open source" project, which means all of the raw
footage that makes up the film is released without copyright restrictions for anyone to use.
The final cut of the film, however, remains protected by copyright.
Flemming founded the organization Free Cinema, which encourages feature filmmakers
to create films under two rules:
1 . No money may be spent on the production, and
2. The film must be released under a copy left license.
Flemming says that filmmaking can now be "as inexpensive as writing novels'" and
that the copylefting practice is a way for new artists to gain notice and distribution in a
marketplace dominated by large corporations. Free Cinema was inspired by the Open Source
Software movement, which is guided by similar principles of freedom. Flemming is also the
owner and operator of Fair Use Press, which distributes e-books critical of public figures such
as Bill O'Reilly and Arnold Schwarzenegger for their stance on intellectual property law.
During the 2007 Slamdance film festival. Flemming saw a demo of the video game Super
Columbine Massacre RPG! and hearing about it having its nomination pulled by the festival's
founder, convinced fellow jurors to award it a "Special Jury Prize" for Best Documentary (an
unofficial award not endorsed by the festival). The festival's founder, Peter Baxter, later told
Flemming that legal considerations prevented SCMRPG from receiving the award.
- Design Script Analysis -
Section 1 ; Analysis - D i 1 1 s 3 0
In 2005, Flemming released his documentary The God Who Wasn t There, Through
interviews with biblical and folklore scholars, Flemming investigates the evidence for the
existence of Jesus, concluding that it is highly improbable he ever lived. Then, Flemming
discusses the beliefs of conservative Christian fundamentalists, Christian moderates (who
he argues simply enable the fundamentalists), and returns to confront the principal of the
Christian school he attended as a child,
The documentary came out of the research he did for his next film. Danielle, about a
girl who discovers proof that Jesus never existed and, as a result, is attacked by Christian
fundamentalists who believe she is the Anti-Christ,
In April 2006, Flemming, along with the Rational Response Squad (an internet radio
show), began the "War on Easter' to "provoke conversation about the dangers of religious
belief '. Participants were invited to place DVDs of the documentary or downloaded flyers
in or near Christian churches and send in photos of these actions in exchange for DVDs.
Flemming posted the photos on a website.
In late 2006, Flemming and the Rational Response Squad started the Blasphemy
Challenge, which called on participants to upload videos to YouTube in which they "damn
themselves to heir by making their own statement which must include the phrase: "I deny the
Holy Spirit'", thus committing blasphemy against the Holy Spirit. The first 1001 users who did
so received a DVD of God Who Wasn 'i There.
Between his major projects, Flemming has worked as a photographer (London Mail on
Sunday, Los Angeles Times. L.A. Weekly), journalist (Filmmaker and Movieline magazines),
awards show writer (1998 and 1999 Independent Spirit Awards), and songwriter.
KEYTHE FARLEY (BOOK)
Keythe is a graduate of UCLA and is an active member of the Actors' Gang and Evidence
- Design Script Analysis -
Section 1: Analysis- Dills 31
Room theatre companies. Keythe has written for, produced and/or voice-directed episodes
of Rugrats, As Told By Ginger and The Wild Tliornberries for Klasky/ Csupo Inc. Keythe
is also the co-autor of Bat Boy: The Musical (with Brian Flemming and Laurence O'Keefe)
which is the recipient of the 2001 Outer Critics Circle and Lucille Lortel Awards for Best Off-
Broadway Musical.
- Design Script Analysis
- Section 1: Analysis - Dills 32
RESOURCES USED IN DESIGN SCRIPT ANALYSIS:
"Bat Boy," Wikipedia: The Free Encyclopedia. 22 April 2008, 28 April 2008,
http://en. wikipedia, org/wiki/Batboy
"Bat Boy: The Musical," Wikipedia: The Free Encyclopedia. 28 April 2008, 28 April 2008.
http://en.wikipedia.org/wiki/Bat_Boy: _The Musical
"Brian Flemming." Wikipedia: The Free Encyclopedia. 16 October 2008. 1 3 November 2008.
http://en.wikipedia.org/wiki/Brian_Flemming
"Chiaroscuro," Wikipedia: The Free Encyclopedia. 23 April 2008. 28 April 2008.
http://en.wikipedia.org/wiki/Chiaroscuro
Google Image Search. 28 April 2008. http://images.google.com
"Keythe Farley." The Internet Movie Database. 13 November 2008. 13 November 2008.
http://www. imdh. com/name/nm026 7660/
"Revival meeting." Wikipedia: The Free Encyclopedia. 26 January 2008. 28 April 2008.
http://en.wikipedia.org/wiki/Revival_meeting
"Slaughterhouse." Wikipedia: The Free Encyclopedia. 28 April 2008. 28 April 2008.
http://en.wikipedia.org/wiki/Slaughterhouse
"Tent revival.'1 Wikipedia: The Free Encyclopedia. 22 April 2008, 28 April 2008.
httpJ/en. wikipedia. org/wiki/Tent revival
"Laurence O'Keefe (composer)" Wikipedia: The Free Encyclopedia. 6 Novemeber 2008.
13 November 2008. http://en.wikipedia.org/wiki/Laurence_0 'Keefe (composer)
"Weekly World News." Wikipedia: The Free Encyclopedia. 23 April 2008, 28 April 2008.
http://en. wikipedia. org/wiki/Weekly _ World News
- Design Script Analysis
Dills 33
SECTION 2
- Research Images -
Section 2: Research Images
Dills 34
FILM NOIR plays with the ideas of light
and dark and silhouette. Light is used to
draw and establish focus. Deep focus, or
everything being in focus is common.
The shadow of blinds provides an interesting
modeling across the person and adds a sense
of mystery to him and a sense of forboding.
iinii» —«
J
1
Chaotic nature and the lines of white and their
contrast with the black. The lines converge to
the person in the center and draw focus to him.
They make him appear small and dominated.
How the light coming through the window
and the door establish their shape yet the wall
is dark and mysterious. The shadows add an
eerie feeling to the image.
Film Noir
Section 2: Research images -
Dills 35
ABOVE: Breaking down of the essentials of
architecture and playing with light and shadow
being cast upon the shapes of the windows and
molding.
LEFT: The interesting dynamic of the woman
looming over the man and the contrast
between light and dark and how it draws focus.
BELOW: The epic nature of the environment
and how it looms over and belittles the people.
Film Noir -
- Section 2: Research Images -
Dills 36
The shadow of the person in the
background is mysterious. Like the bat boy,
is he dangerous. That you cannot see his
features is threatening.
Shadow and the silhouette of the unknown
is interesting. What exactly is it that we are
seeing? Is it a man with a knife?
ABOVE: The interesting light angles and
how it makes the woman look other
worldly and mysterious.
LEFT: The silhouette of the people and the
mysterious quality of the fog and how it
hides the objects within it
- Film Noir
Section 2: Research Images -
Dills 37
Caves
Section 2: Research Images
Dills 38
^J'bevri Deep
- Caves -
- Section 2: Research Images -
Dills 39
These caves with their unique juxtaposition
ofmanmade and natural is interesting. This
provides a dynamic of the organic battling with
the imposed man-made structure. This dynamic
parallels that of the bat boy and the townspeople
of Hope Falls.
- Caves
Section 2: Research Images
Dills 40
- Caves
Section 2: Research Images
Dills 41
LEFT: Notice the shafts of light
and how the cave dwarfs and
looms over the smaller man made
structures and stairs below. It is also
interesting how the natural light
and the street lights mimic each
other.
RIGHT: The vegetation on the
rocks provides an interesting
texture. They provide a softness to
the harsh rock walls. This foliage
could make the cave in Bat Boy less
harsh and cold.
Caves -
Section 2: Research Images -
Dills 42
LEFT: Inspiration for the revival cross. Needed
to look like stained glass but also be cheap.
They mention in the play that it is made out of
vinyl.
■Mr**)
fe~f^
*
* teifc^l
3D
■
i 111111 .
1 . MS W 3
i
i
BELOW: Meat hooks
for the interior of the
slaughterhouse. They
are cold and imposing.
They hang from the
ceiling and have an
interesting shape. Not
having meat on them is
an interesting look. '
Meat Hooks & Revival Cross
Section 2: Research Images
Dills 43
" 19*
r i
1 i
• 1
1 :\\>i
.
'■**"^W^1
ft ' 1
■!■< , j
1
fl[
i, ■
1
1 ■-'
^H
1^ J
■<<#x
> "
■ ■ ■"" "■
ii
I
i
H _]
|
1
f
i_ I
i
*
FRONT DOORWAYS
have an interesting
dynamic to them.
They are usually
accompanied by
windows both
within the door
itself and on
either side of the
door. For taller
entry ways a trans
light above the
door might be
incorporated.
LEFT: The simple lines
of this doorway with its
arts and crafts inspired
molding will work well
for the Parker's front
I door. The solid molding
running across the top is
of particular interest.
Front Doors -
- Section 2: Research Images -
Dills 44
ABOVE: The shape of the trunks
of the trees, the vertical lines
of the dark trunks juxtaposed
against the golden and green
leaves.
RIGHT: The dark shadows of the trees
and the density of the forest. How the
shapes and the reflection of the trees
in the water are mysterious and eerie.
Trees/Forests
- Section 2: Research Images -
Dills45
L* 5f^ A\ £&&&*
■n
1 1
1 1
i
1
1
1 1
f.l ;
■.!■*■
LEFT: Hospital/Industrial windows. The clean shape and the
interesting way of opening, only a third of the window being able to
open, is interesting.
BELOW: The shape and lines of the
windows on the second floor of the
house.
Exterior Windows -
Section 2: Research Images
Dills 46
HIS GIANT EYES SEE Iff THE DARK & HtS EARS
AR£ BETTER 7H AH RADAR, SAY SCIENTISTS
WEEKLY WORLD NEWS BAT
BOY COVERS are always in
black and white and packed
with very graphic images and
bold text. The text is always
of some eye catching and
provocative subject matter.
Weekly World News Covers -
Section 2: Research Images
Dills 47
■L*1
CHURCHES always have a cross
somewhere in them and the windows
of the churches seem to be important.
The sunlight shining through them is
visually interesting and the color of
the glass provides texture, color, as
well as modeling.
- Churches -
- Section 2: Research Images -
Dills 48
' 1 '"H ralfg!'- I' VMS
WEB PRESSES are the type of
presses that the Weekly World News
is printed upon. The industrial lines
and structure of the scaffolding is
interesting and could provide an
interesting juxtaposition with the
naturalness of the cave.
Printing Presses -
Section 2: Research Images
Dills 49
Printing Presses
Section 2: Research Images -
Dills 50
ROLLS OF PAPER used on the
Web Presses are very large.
They are stored stacked floor to
sealing in warehouses. When
stacked so tall they dwarf
people and are very imposing.
When their covering is torn
and they are exposed to the
elements they can begin to
resemble a more natural cave
structure/environment.
- Tabloid/Newspaper Printing -
Section 2: Research Images -
Dills 51
LEFT: More of the large
rolls of paper, these
being stored on their side
instead of being stacked
top and bottom.
BOTTOM LEFT: The
man on top of the rolls
of paper reminded me of
the bat boy climbing in a
cave. Could I incorporate
the idea of these rolls
of paper into the cave
environment?
Tabloid/Newspaper Printing -
Section 2: Research Images -
Dills 52
ABOVE: The beams and
structures of the camp
meeting church. It resembles
that of the scaffolding the
surrounds a Web Press.
BOTTOM: The supports of the tent, both the
poles as well as the guide lines that keep the tent
taught and upright are the most visual and easily
recognizable parts of a tent revival.
Revival/Tent Meeting
- Section 2: Research Images -
Dills 53
SLAUGHTERHOUSES
come in all shapes and
sizes. I was looking for
more urban/warehouse
types of facilities that
would fit into the film
noir aspect. Large
windows and clean,
modern, industrial
shapes and lines.
BELOW: Meat hanging
on meat hooks inside of a
slaughterhouse. This is too i
graphic for the musical.
The hooks should be bare.
Bare hooks can be just as
visually interesting though
Slaughterhouse
- Section 2: Research Images -
Dills 54
WAREHOUSES are dark and vast
environments with most of the light
coming through large windows
or from overhead pendant lights.
There are a lot of shadows and
places to hide in these types
of buildings and their facades
are usually stone or brick. They
resemble a cave in many ways.
- Warehouses -
- Section 2: Research Images
Dills 55
WEST VIRGINIA
TOPOGRAPHY
is very
mountainous
and dotted
with tiny towns
much like that
of Hope Falls.
- West Virginia Topography
Section 2: Research Images -
Dills 56
***.
WHEELING, WEST VIRGINIA
is an actual town that is
mentioned in Bat Boy: The
Musical. It has a small town
feel about it, the buildings
are generally low lying and
the skyline is quite flat. It
has a main street, Andy
Griffith Show feeling to it.
- Wheeling, West Virginia
- Section 2: Research Images
Dills 57
S^^-.siSSifSI mm
Wheeling, West Virginia
Dills 58
SECTION 3
- Draftings & Paperwork -
I *!S
> fi I o 3 3
^ ; ? rfBi (H
-£§4-
5) cu l-
;£!£»
S S 2
.-
»
5
H
4
ft W!
' i' \
©
t
■5
\
\
1 - ? J S
f | 5 *
I I i g
* | -
IS*
"II " I « | "" s
!NT
\
\
\
\
\
\
tt UK
1 •" J |
5™ u -* ^ 5 i7J ft iH K"S
s.
S 8
111 \
5
SS
?
?J
o
I
CO
LU
\-
o
3
O
<T3
C
CD
sz
CD ^
T5 C
W U
— X
c o £
2 ti T3
3 3 q;
03 U (j
-1 ^ O
° £ .£
O
13
C °
O 13
5= -a j_, ^
(D cd o -£
O O O <L>
h- h- Q Z
5
Uj
00
o
I
I
2:
o
1
A
c
.o
4o
SP
^>
Q)
Uj
Cl
p
CD
^.
/*
O
!—'
0)
:
£>
CXS
4^
<o
v*.
(U
+«»
C
&
o
V
/
/
i i
<XJ
c
.o
o
</>
+o
SJ
55
£
-CD
<L>
Uj
-C
CL
K
s
Q
O
■3
CQ
c3
OQ
£
r- •
13
O
"O
0>
cu
w o
0) -Q
-° *
= x
c o S
03 O o
4- TO ^
O £ c
o
CD
JD
CO
LU
^ Z5
C °
O D i o
5= -Q tl *"
<L) <D o .£
■Q -° c Id
O O O 0
h- l~ Q Z
?
Uj
3
00
o
I
<\l
I
o
I
o
■~x
.
-
-—
\
/
2
Uj
I
8
-J
S5
+-»
CD
/ o
cs
c
2
o
^
s
^
.qj
Uj
0)
IS
1
Q
£
\l
o
CX5
OQ
O
+->
#-j
cu
Y*
OQ
o
k_
CD
CD
CD
T5 C
CD 15
cu -Q
= x
c ^ ^
«J ro -m -o
3 D 3 d)
O 03 O (j
>^ o
03
CO
UJ
I-
O
s °
c 5
c °
^ -= c Ja
o b£ o
5= -Q +_, *■•
CD CD O -£
-° -° c ^
O O O CL)
I- h- Q ~Z.
X
Uj
oo
o
o
1
.o
t
/
>
2
0)
CO
**.
TO
c:
.3
£
^
CD
Uj
0)
1
Q
i*
>s
o
cc
OQ
o
+->
p=
as
K>
CQ
<o
00
o
I
CM
O)
II
2:
^
o
«-*.
p
uJ
K
^
-J
y
<o
u
:d
c:
o
\
2
2
<3
-*K
/
c
+J co
O ™
£ °
Z o
D
CJ
>v
03
o
CD
CD
CU
o
c
CD
s_
CD
JO
CO
UJ
O 3
0) CU
O O
|_ |__
t; £ o
(U +J
° 0 5 o
i 3 i JQ
!
c\3
c:
sic
O
+2
rj
$
£
cu
0)
Uj
-c
Q.
K
s
Q
O
f S
OQ
c3
4~>
85
5t
\
/
.o
2
Uj
Q
S
<3
to
c
Uj
3
CO
o
I
M
i
o
p
i
/
CO
UJ
+j 05
o «j
g °
c 5
c °
O 3
jQ -Q
O O
h- h-
3
OJ
TO
o
o
c
0)
X
T3
<U
CJ
c
'53
<u
-Q
£ O
d) 4-»
i-8 g
i 3 , JQ
! ■
<*
c
.o
o
</)
-Uj
^
55
^
>
Q)
Uj
^
a
^
e
Q
• s
CQ
<3
4o
,2?
£
/ /
/ /
..o-.t
\
\
CO
o
CM
CM
i
00
\
\
\
/ /
\
b
2
\
/ /
5:
o
i
\
\
c
o
>
c
o
\
\
/
/
/
\
V
\
\
\
\
\
/
\
\
X
c
CL
■D
C
D
O
/
5
**
*
/
X
\
\
\
\
\
\
\
\
\
\ \
00
o
(XI
(XJ
i
oo
if
o
i
/ /
„0-.E
/
\
\
/ /
/
> I !
_□ !.'.; i
.
/
A
\
\
oo
O
(XI
CM
ob
O
I
\ \
I
/
/
\
/ /
\ \
\
\
c
o
"+J
CO
>
LU
u.
CO
<u
en
/
/
/
/
\
/
/
„9
/
CO
o
I
(XI
r\j
i
00
\
/
/ / /
I
\
/
\
V
\
\ \
/
I
/
/
evation
■
i rr^
■
LU
xA
0) E
<u £ 2
I- o *--
o a
o w
ro O
ro 7D
.52 _o
|E £
. cn
CD C
S a
*j OJ
O c
en ro
CD -C
c u
i/i =
a; §
H CD
8f
D E
o
o
c
o
'(/I
c
|
a>
OJ
5
c
n
i
in
h-
in
U
a
re
u>
ai
CD
o
0)
u
re
y1
X
0)
c
CD
0
o
Q. O. u T3
5
y
O
n
1 1
(/)
1
3
re
<
o
CD
E
OJ
c
n
<i>
m
(/)
E
U>
i
IV,
m
.e
a
cd
C5)
<j
C
£
X
re
re
o
a>
X
M
h-
a
o
<i)
JO
r
m
*J
CI
o
TJ
o
E
a>
X
O
O
*—
TO
o
x \ \ \ -. \ \ \ \ \ \ \ \ \ \ \ \ WW \ \ WW
\ \ \ \ S \ W \ \ \ W \ \ W WW \ \ WW
WW \WW WW WWWWW WW
WW s\ \ \ \ \ \ \ \ ■" . \ \ WW \ \ \ \ \ \ \
.X\\\\\-sN\\\\
!\\\\\\\\\\\V
.WW'x'WWW
\W WW WW
. \ \ \ \ \ \ \ \ \ \ \
.W.WWW W\
.ww.wwwx
.\wwwww
w
w
w
w
r
-n (-
3
+J
CD 3
u
IL>
I
TO Q
CD Z,
re
Q
c
o
o
o
</) in
E
"O
—
_ CD
<
CL)
O) >
C O
O)
o
<4—
.c
II
"6 P
L.
re,
^_
O en
E en
c/> Q.
u
o
E
a>
D.
00
o
o
S3
OJ
TO Q-
c
w
m rr
h
-J
S
to
\\\\ \ w w w w ■■
\ \ \ \ i k ••■-. \ \ \ \ \ \ \ ^
WW \WW w\\-
\ \ \ \ K \ \ \ \ \ \ \ \ -
\ \ \ \ L \ \ ww \ \ n
WW s \ W W \ \ \
WWW'WWXW
W W W \ \ \ \ \ \ \
WW \WW WW
v \ \ \ W \ \ V v \ \ \
\
\
\
oo
o
4
C\J
c6
I
o
o
Q
M—
O
c
L-
o
o
+J
SP
<D
^
+-»
CD
C
Uj
L_
CD
J*
L_
03
O.
re
0)
m
>v
J_
c
n
>
11)
a
T3
^_
0)
r
cu
>
o
o
TO
n
1 1
O)
-1
ci)
Hi
m
Li
4-,
n
U~
U)
o
n
o
o
n
c
>i
■o
UL
c
\
\
\
:\w
\w
-w
w
CD
\
\
4-»
\;
\
X
\
LU
CD
if)
O
CD
+-»
at
31
CO
o
CD
Uj
/ /
/
/ /
/
/
/ /
/
\ \
00
CD
4
OJ
00
8"
^
O
0"
/
§
1-
^
k
CD
1
s
c
o
.2/1 2
-C3
<J
-8
CD
00
/
o
Q
3 1/2"
/ /
/
/
\
\
00
+
\ \
\
\
o
o
o
Q
Uj
Latch
to keep
door
"o
CD
V)
o
u
"O
QJ
J*
U
o
1-
o
o
Q
\
s
CD
-a
go
t
o
go
1
V)
f
CD
CJ
w "D a; cu cd cu >_•
gj aj _c o -c o) o
o 2 'M TO +~' ro o
.E O O u "D u T3
x § +-> c
CD
T3
GO
o
sz
go
J/}
CD
Cag
■
CO
O
o
c
<o
4-J
cu
a;
r~
o
cu
cu
o
-Q
jz
Q
0)
4-J
cu
<:
3
SI
-Q
cu
.
T5
+-"
to
JZ
c
O
o
11
*->
cu
O
■M
T3
a
cu
-C
u
cu
o
Q.
O
4-1
CO
CU
o
(V5
~5
CU
CD
T3
a;
OJ
*->
03
4->
X
CD
c
n
0)
C
03
a.
a)
O
o
-t-j
cu
.Q
T5
CU
JZ
-
4— '
X2
O
4->
o
*->
CU
CU
-Q
CO
CU
"D
CO
u
03
-Q
CI)
—
O
CD
■t-1
0)
c
to
cu
CD
03
O
CO
cu
"cu
0)
-Q
O
4-J
CO
ZJ
E
n>
en
*->
i_
C|)
0)
cu
CO
CO
o
m
r
JZ
u
o
CTS
:?
-(-J
cu
<
Q
CJ
^
-J
3
CO
o
I
N
i
00
§
1
1
CD
T3
CO
CD
C
o
_l
1
75
Cage
cs
O
to
S
£
CO
c
<D
to
IS
CL.
CD
o
.(3
OQ
+>j
cc
OQ
^
/
/
/
1-H-.S
/
/ /
V
\
^
#=
V
.o
O
CO
"^ 4-»
T3
(D
i_
CD
>
O
o
(D
4-- T3
d a;
o a>
si
I °
o ^
CD
TJ
CD
C
'c
O
CD (O
+-» C
<: E
CD i_
£ O
'03 >
°- i
<D >
jQ *
_ C
T3 O
O CD
O co
£ CD
— CU
7r 00
.o
Uj
v
//
/
/
^
UJ
-J
00
o
I
i
i
-S: ^
<s
o
<7>
T3
C
^
§
^
"CTJ
Q)
+->
;C
Q.
1^
CO
O
• .
a:
$
1 o$J
QQ
JtO
+-»
cc
CD
OQ
«
c
03
TO
_l
O
O
0
CD
E
■M
$
>,
o
£
Q.
—
T-l
u-
Q,
CD
O
CO
U
TO
H
4-J
r
u-
O
O)
C0
CO
u
CO
E
o
O
TO
o
TO
CD
CO
-Q
-Q
/
/
/
03
•l-J
-C
V
■I-'
u
( )
03
v_
-Q
CD
r
c
■M
TO
$
CJ
T3
a>
L_
CD
>
O
CJ
CD
/ —
X
3
O
T3
0
E
CT3
CO
LU
I-
O
CD
CD
..D
O
*->
s—
CD
■M
£ g
CD -55
t3 CD
O "O
o f
^= jc
E^ c
CD O) CO
£= In -J
CD CD <-
w CC
CD Q) m-
y -c cd
£^°
- I J2
£= CJ
cd ro
+-> CD
CD
"O i
"D
c
o
u
_CD
M-
CD
i-
_Q_
CD
sz
o
CD
T3
CD
en
c
JC
D)
CD
CD
00
CO
CO
o
u
CD
CO
SZ
TO
Q.
CD
T3
O
T3
CD
(O
c
o
+-J
O
4-<
£
=3
"U
o
O
CD
c~
CO
_<Z
o
o
u
-t-J
c
CD
cc
_i
TO
CD
■t-'
CJ
r
+-J
-O
i_
(0
cc
CT3
f-
CO
CD
i_
$
O
-Q
CD
r
o
o
O
rn
*4-
0)
-t-j
CO
0)
SZ
~D
CD
jD
-t->
CD
-a
O
*4—
n
CD
C
u
0)
CD
■fci CO
-C +-"
c
CD
u
u
D) -C
CJ
CD
CO
:= O)
UJ
Q_ J=
CD _J "O
SZ C
^
2
CO
00
o
o
Q
i
/
/
\
\
\
\
/
\
<TJ
.o
</>
^
^
CO
CO
o
CD
6
K
"co
>
• •
5
\ CD
o
cc
i QQ
+-<
CX5
QQ
/
/
I
f
/
/
/
/
\ \
\
^
\
,
/
/
/
\
\
/
/
/
\
i
8
CJ
o
L.
CD
CD
-q
co
.^
o
03
JO
CD
CL
E
/
'
%
Uj
<u
3
O
"O
CD
+-"
CJ
13
i_
+->
CO
C
o
CJ
CD
JD
CO
°3
to
CD
-*- O
CD -
> ^J-
C \
Z) m
CO
LU
O
cj .i!
I-
O
CO
LU
O
Q
o
DO
03
DO
<D
t
O
O
o
fl>
i_
4->
M—
71
CL
E
o
M—
O
J*
CJ
O
to
Q.
O
4—*
cm
_
M—
U")
O
13
4—i
-C
CO
o
o
i
1-
—
CD
o
03
u
k_
+->
o
CD
CD
~3
<4—
£
po
c
o
TO
CD
cxs
.o
4-J
CO
c
s
:r>
^
-i*
o
Q)
o
-c
cc
h-
<fc
CD
^
i «.
o
QQ
CD
CD
4-i
CO
OQ
CL)
to
CO
o
c u
CO
u Id
*-• £
ZS J5
O Q.
_ro -Q O
u £ CD
O 4^
o
CL
CL
13
CO
CD
CD
D
O
£Z
CD
— OS
J2 E
CD 03
> O
CD **~ CD
— ^ -Q
13 *■* to
1 Si!
CD CD I-
— _Q
U -^ 03
03 £ CD
CD *-
CD CD _
CD CD £
to
CD
.*!
O =
+-» 03
T3 CD
CD CJ
X 03
tiZ <+-
TO «
CO
CD 03
jQ _CD
O CL
4->
II
CD Z5
-C C
■M *-
£ E
O
CD
JC
+->
T3
C
03
E
o
V4—
4->
_03
CL
CD
■M
c
CD
CD
CD
-Q
CL
03
CD
CD
SI
4->
CD
CJ
13
T3
CD
= <-> O
^
UJ
-J
2
co
00
o
I
I
o
Q
i
W CD
CD ^
° i-
0 I-
CD o
««:
O <^
CO O)
03 03
E tt
/
/ /
u9-.l
/
/
\
\
\
\
\
\
:
§
CO
LU
M—
(1)
CO
CD
JZ
o?J
O
*->
co
JZ
■t-J
c
CO
O
(J
JZ
+->
T3
c
CT3
E
II
■M
OJ
>
03
CO
CD
_CD
1 j
"C3
CD
U
4-J
o
CL
JZ
4->
CD
<:
o
*->
CD
JZ
4->
■— "1
-C
O
o
13
(J
c£
a>
>
o
03
Q.
CD
JD
1
CL
3
CO
1—
O
CO
CD
o
CO
CD
T3
CO
"to
0)
o
03
CL
CD
JZ
*->
ui
-j
o
o
<:
1
10
-L.
CD
CU
X
(J
03
L_
CD
1
to
CD
>,
-t-J
3
i+-
M—
CD
CTi
T3
co
o
03
JD
CD
sz
■M
CL
3
JD
E
CL
co
CD
>
CD
E
03
o
O
c
CU
CU
03
CD
JQ
CD
CO
03
CD
CD
JD
2:
o
CO
V4—
O
*->
3
O
CO
Q.
O
+->
X
(XI
X
C\J
JZ
ID
CJ
03
JZ>
o
+->
"U
CU
CO
3
-Q
-a
3
O
JZ
CO
CU
i—
CU
c
O
*->
E
03
o
M—
CU
JZ
4->
CL
o
■M
CO
3
E
E
s—
O
CL
03
CD
CD
JZ
+->
CD
(J
3
T3
i
o
o
13
>
JZ
0)
CU
JQ
h-
_o
CD
o
■M
_(D
a;
O
03
^
co
03
CD
03
o
*4—
03
4-J
CD
o
o
- Bat Be
ladder.
03
+->
u
1
u
s—
O
M—
c
CD
CD
CD
CD
_J
CO
CD
CU
_l
i
03
C
CD
CL
O
4->
CO
<U
u
CD
CL
CL
CD
JZ
1-
i
C
o
CO
CT3
E
CD
CD
CT3
*->
CO
CVJ
.o
-to
§
5
^
K
.CD
^
'^
o
CD
OQ
CD
03
•kj
4-J
<TJ
OD
OQ
CXJ
o
</>
s
^
CO
03
03
IS
5:
CD
<D
:*
>£
o
00
+->
cc
QQ
-c ro ^-,
re
_■
fl)
a>
d)
j_
VI
y
0)
o
< t:
+-I
i/i
.c
ro
*"*
**-
tu
0
a
a)
ii
i/i
f^
0)
n
-C
O
4-1
a
o
■
(/>
TJ
0)
C!
JL.
n
o
r
TO
0
0)
01
U
c
o
T^
*-
1
1/1
■i;
[1
n
<l>
(ij
a)
a
c
s § »
M "£ ill
•t = -Q SJ "I
ai 5 o ro
in *■* .
CD in
E *-
a>
P 3
I s =
TO *-■ Xj
0) "D CD
in <U r
a> -n o
.c u v
I- ro
,J to ">
a> ,, cd
£ c 5
<D en
n 3 <D C
"D -o • E
CD c -* w
n .9 i; a
r
"O
I/)
a'
0
a-
C
3
O
1/1
o
a.
C
c
ra
in
0
5
'c
3
t
o
u
a:
3
CI)
E
r
>
n
IT.
CD
o
c:
F
o
(t.
ra
c
o
3
—
3
o
"D
cu
3
u.
CD
CD
.C
C
J'
ci>
\
CI)
3
o
.a
o
a.1
T)
CD
a
TO
i
. •
=
■•^
1/1
4-J
a
I/)
LU
CD
>
TO
l/l
c
id
i/i
TO
ui
F
(-
O
01
w
a:
i_
3
(0
l/l
z
^
h-
x:
CM
75
cu a>
•2 ■£
00
O
I
K
I
CO
2:
\
o
UJ
5
§
00
a
o
-J
CD
+_i
to
CD
-J
CD
C3i
"3
+-•
k.
0)
c
3
cc
cb
re
+-/
eo
CD
c
3
■c
CD
0)
CO
00
o
CU
o>
ID
CL
(U
%
C
3
4-<
c
3
oi
c
.
c
-
&
eg
* in
i;
j*
O
TD
O
T3
ID
(D
CU "O
D 3
£
e
o
3
o
3
CO
CO
a:
_j
-z.
§
z
§
CU
cu
t °
5 wi
lo
l/l
•D
p
E
E
&
jz
_c
3
o
o
O
O
■o
"O
u
X
E
^
LT)
00
t-H
5T
r--
rN
r»
00
CO
<
?
5
£
g
o
X
o i
X !
LU
o
LU
0) CU
s> s>
u u
cu cu
ft Si
0)
Si
m
ro
o
o
o
o
O
(M
ro
a
u u
U
CO
l/l
i-H
rt
rH
^
rf
rt
rt
1-1
52
u
L0
CL -1
a. -i
10 10
u u
l/l
LL
U
rii
cjl
cii
D)
en
en
Dl
en
LL.
LO 10
u
a.
0-
a.
a.
a
Q.
CL
CL
rH
(N
J^
11
ro
*
LD
lO
^^
I/)
u
"In
5
5T
o
c
<a
u
X
in
o3 «
TO
o
C ^_^
IN
E *"
O IN l/l
(N *— 5
E
u
CU
ft
u
01
>
ID
U
5"
— ai
01
>
ID
u
n3
D Ul
0) o
s 1
IN
en
^■cl-E
0) L0 g
if)
cr
_J
o: ^.^
l/l
E
10
JZ o -*
LO
l/l
LO
U
u
5
ID
Ul X
NI
±no
ddO
J
.no 1 ni
*J
i j-1!
4_,
CT
1_
l_
E
i/i!
o3
C
ID
XI
V
LTD
1
u
"D
<U
CO
« 75
J P
C| 1_ 0)
CU -
^ aj ui
3
C
3
0)
'c
3
LU
•8
i/j
If
>-
l/l
35
Q
l/l
o
X
^igj* 5
.*
^
JD l/l
)03 b
3
£
u
LU
cr
L0
U
a 5.
L-l folu
8U -
U
X -b c en
u
a:
D
X
ID
o
o
U
y
3
LU
65
_l
l/l
£
E
m
>
l/l l/l
o o
X X
Q
a
*T
i_
b
Q
M-
l/l
L0
c
O
a
oj
ID
a
u
I/)
■VTi' 'V Oif 2? a:
cc
lo
_J
_J
V)
O
_j
a:
j
c
t
■V--V-»S*-^B»*\k: <■"
l/l
i/i
LO
u
1
t
0
39V1SN0
3DV1S
ddO
IdO
N
0
C <
r^
Ch
o> E
en
d>
Q.
a.
o> ^
u
Yo
£
z
m c .
o
§
- S <=
4-J
CO
O
l/l o o
01
ID
LU
W
Cu
•o in S3
Si
U
CO
"Z.
O l(u Q.
CU
Q-
01
S
JD C
-C
U)
t-
"D
ft E
en ■.—
a; h
O
X
= @
rH
* .E
tH
CO
z
O
Q
ro
a
<
Q
D.
3
rr
fc
£
L.
U
OJ
it
fD
It
5
o_
c
afte
with
o. h
co >
o>
t CO
CO (Nl
CO
sz
"sT
■*
in D
3 g
i >
a 5
■* T3
lO «5 O
c
rC r-{
ro &
§
§
c^
0)
01
£ i
C^§
£ o c >
0) 0) c
r-\
QJ
cu
« m
CJ h
g LT
6) _
01 ^ 01
01 Ll 1) L
u_ <1J
C
CO
c:
co
LO ""
""
"«
6* oj
en ro
10 "" LO 4J
U CO U U
LO CO LO
o -a
03
«-
o
o
01 c
o a
in
^~ >^ in
u- ^
-a ,i-
*-
o
O
o 4;
a.<°
c2
a °
o o g
o o j
c
01
o
13
T3
C
"O
c
£ =
X) j^^
•o -o i
a
Q
C
LU
LU
c i fi
c c
111
4-J
<
|S
&
LU
LU ]LU
LU LU
u
LU
LO
LTI
L0
i-
T
lO
ID
r>o ro
CM
CN
(N
O
o
o
ro
ro
ro
ro
<* <»
Q.
ro
ro
ro
>]
Ol
Ol
a
rii
6i
Ol
di
Ol
Ol
Ol
Ol Ol
U_
D-
a
Q-
CL
a-
CL
CL
Q.
CL
CL
Cl
CL
,_^
§
J g
m
l/l
*H
o
tH o
CJ
X
E
*->
c
CO l/l
IS
O
o
X
ro
u
X
E
c
co in
o
o
X
CD
_ IN
CD *-"
Q 5
in o
o -a
■o
c
g So
rN
rM T3
2 " --
CL § 5 m
in o <N
O TD 0) ~—
C- ro in
| 5^ I
u
HI
u
OJ
X c
Ol
X C Ol
u
CO
ro
s
CO
ro
£
5
CO
_l
5:^
CO «
| nx 1 ±no J ±
10 NI I NI
>: O
co
3
in
Q
r-
LU
LO
CL
o
Q
o
"O
Q.
O
CL
^ o
OJ
in
oi
n
u
6
co
■o
TO
in
£
01
o
c
o
in in
01 Ol
sz sz
u u
c c
01 01
□D co
CO 1_
U o
o
LU
U
LU
CL
O1 c
a)
oi oi
co
u
SZ
in
ro
LL
u
C
co
Ol
CO
U
s:
CO
3
Z
<
o
CO
u
o
sz a
in
CO >4-
tfc o
CO
r i
.c
U
r\l
rM
u
LU
—I
sz
CN CN
01
CO
v-/
01 ^
U
in
^:
OJ
Z
LU
u
co
ID O
u w
CL
Cl
CO
LL.
fi
U
DC
DC
LO
-I CC
cc
CO
co
l/l
CO LO
Q
D
a o
NO
3A0W
NO
13S3>J<
J
ddO
ddO
3A0
H
39V1SN0 NO 3A0W
ID
O
■*
ID
ro
00
r\i
ro
ro
ro
<*
H
di
di
rji
6i
ch
o
13
Q.
Q-
Q_
a.
0-
a
= _
*■
0)
z
Ol
in
O)
OJ
in
Ol
CO
ro
o
CO
LU
c
5 E
D
O
c
^E
4-1
o -
3. >-
.;„ -O
c
5 E
P :
To
X
U "<u
in
z
LU
CJ
CO
o
fc °
CO
Q-
OJ
sz
oi
=>
CO
CO
, o
CO
ci-
5
OJ
ro
Q
Q.
in
o
X
1° re
, o
V °
_X LU
CO
a
CT
§ E
o sz
sz \-
LO
c c c
, n a
>! X3 <U
^ w CC
sz
U
ro
T
in
ID
r^
00
T_l
T-H
rt
^
rt
T-C
CQ
00
o
O
Q
en
IV
a.
0) i3
ro s
LU
i— 1
19
oo" ;t»
(SC
«H -H~
>•
;*-
b
W in
:ene
ade
cene
crim
0)
c
o
I
OI
c :
o -a
x c
<
u.
O
l/l "-: CD in
<
x: jz
z
O
O
o o
O
p
LU
cn a
LU
LU
TD 13
az
LU
u
111
c c
LU LU
ID U3
m
h-
ro
id
El
h
Li.
Oi : cn
Q. Cl-
in
cn
0.
in
cn
a.
in
cn
a
in
tH
i-H
tH
rsi
.H
n
•-<
l-M
rsi
-1- ml/1
_
o
n
c
§
o
■o
c
03 — -
u
X
l/l o
Q) H
5
S
So
tH
r>.
r\l
17)
5
o
■o
c
IN
E ~
Scrim (
3 fend;
Light
5o
IN
"oi
jr
cn
Large W;
(28)
Hospit
Window
E
i_
u
cn
MS
— &HJ
CO
a;
>
ro
u
_i
in
ft
u
tc
cn
u
0)
ft
U
_j
in
U
CD
>
ro
U
in
U
Small Wi
(32)
Mediu
Windows
±no
ino ni
t\
I
ino
u, "!*■
1
X)
cn
±Z 0)
i_
CT
c
•*
c c
aj
0)
J3
i-
ro
c
c
in
=> O
X
l/l
in
0)
SZ}
in
ro
sz
0)
ro
JZ
o
in
in
HI
b
cn
sz
0)
E o
0)
U
CQl
|ffl
«J
^
jz 'id
■u JZ
Q.
(0 SZ
op
u
c
QJ
CD
6
£
c8
-" It
>1 SZ
ro
ro
X
a
<* U
o
ai ro
_* in
ro
CD
J3
TO
o J=
o cn
T,U
Q.
Q
"ro
ro
"D
"O
<
o
O
rsi
N
_J
ro
tn
c
ro
>
sz
in
o
X
in
O
X
'5.
in
o
a
01
o
a. cn
X
°-
X
on
*
in
Q
_l
in
Q
u
in
x>
<*
_J
-J -J
oz
a
on
a:
l/l
UI
Ln
in
mm
m
m
m
m
3A0W
ddO
3DV
ISdd
0
3»IblS
r--
(N
in
cn ;
cn
Q_
Dl
(5
z
o
(/)
UJ
cn i P
c P~
-J fc Lo ui
r— i
"d
c
ro
£
o
E
2
O
z
UJ
u
en
arker
Roq
ome F
Repri
in
Q- j X
O i
a:
1 r
U ;
LU
H
CTl
TH
o
<a-
<l>
en
ID
a
a
LLI
Q
3
en
cu cu
CU in
1LT
C
fO
c c
cu cu
:■
jz
JD
_
Cn jj
C D
O O
CU
l_l 0
in en
c& c&
in
cu
n
«f in
CU 5
E^
0 >
>•
W
c
0 : 0
~ ,
4-» AJ
cu —
offstage le
and Chaecter
Tree *2
u
O o
en
a>
£ E
c b
en en
en
0
a
in in
in in
0 0
<J U
X
X
X
X
<
TO
CO
CU
jz
•0
c
TO
CO
UJ
-C
O
C
0
m cm
ID *t
l-J cu
ID X>
c
c
c cE
cu
"O ' :
2 2
u fc
ID
C
c
0
01
3
0
UJ
cu
CD
jz jz
1 §
u_
u_
ro cu
c
ID
CL
= 0
X
>-
u
LLI
co
CO
CO CO
Ln
in in
>*
CL
>j
Ln
61
Ln
en
in in
en en
id yj
en 0
en
li.
a
a.
Q-
a
a
a.
CL
a
1/1
in
^
1
—
tn
C
in
ID CO
in
♦^ — v ^ -x m
-j* ~s
O
0
U
X
E
u
0
5 C!.
*HD*WD*i«
0 * m 0
m 0
0 c~
cu
cu -c5
5: u
"c
cu
!E
u
c
0
Co
O
O.
in
0 X
U _
_ ro
id >-<
> «-'
>
in m
0) 0)
cu cu
(J _
_ ro
ID iH
> >--
>
cu2J-i(u2J'-|a>JJ
Ircu ^ 5: cu vlrcu
>(^Co>(^CD>^
V "C ** V t '* v 1
4,6,8,1
e Move
4// fee
4,6,8,1
CU rH
CU -
p- 00
_ ID"
< IT
cu
cu
P-
<
ID
* >
in
C2
cu
in
3
cu
CL
L0
t t
cu
a:
r
""" O
0
X
ni ino
NO
ino
NO | 3A0W
3AOW
3AOW
_J
UJ
u_ in
m
in
in
0 =1
cu
cu
CU
0
JZ
.c
jz
,_ x:
u
u
u
0 )r,
c
cu
c:
cu
c
CU
— cu
CU SZ
a.
y
CO
IN
CO
IN
CO
IN
LO
C£
_l
or
00
LO
I/)
Ct
Q
D
Q
in
_
NC
)
ddO
|
NO
00
in
ID
,_,
^1-
Ln
ID
ID
r^.
r^
en
en
d>
01
Ol
u
a.
Q-
0.
CL
a.
_
CU
"cu
p
sz
cu
'z.
^_,
W
0
H
u_ <"
O
LU
c
"is
0
z
3
g CD 5
r 5
ID
CU
JJ CU
2 "D
0l
LU
U
to
>
>
cu
&
5 SJi
PI
<u £
X «
UJ 3
ID
<
H
U
in
»H
IN
m
<t
IN
IN
IN
IN
6
CQ
01
cn
ro
Q
UJ
fee
O
O-
3
"O
l_
L
O)
QJ
o
3
if)
O
e
fD
"d-
in
0)
•. u
u u u
u
u
u
u
u
OJ
^ M
> cn
-O
'i/l "<n in
ij)
l/l
U)
Ul
1/1
3
in c
i_ ro
3 3! 3
3
3
3
3
3
| *E =
cm" >
OJ — 1
£ z z
Z
Z
Z
Z
^
171
OJ
"O
E =.
ro
l/l ° T>
0)
c §
OJ o
"g!^ s
5
§
§
a
0)
v- cn c
,y u
* cn
O T3
■D
X5
■o
TO
"D
TJ
JZ
1 O C i— i
1/1
OJ
OJ
OJ
ttJ
0)
0)
0)
OJ
4->
ii"
t o
c
B JZ
E
E
E
E
E
E
E
E
j_,
o
H
i-
i-
h-
H
h-
F
i-
.OJ
UJ cn
>
0)
■D
CD
c
OJ
UJ
>
UJ
m ! vO
o
r\i
<* ■*
■*
■*
"*
<a-
^r
^r
■<t
E3 r>~
CO
CO
CO CO
CO
CO
CO
00
CO
co
CO
El cn
di
cn
cn cn cn
a
cn
cn
cn
a
cn
u_
0-
a
0.
a.
O-
o_
a.
a
a.
o.
CL
CL
0)
t-H
fM
=
*
*
*
^
*
3
| .-^ 10 4-|
!u 1 = .2 .2
Jf] O j3 > c
cj 1 R1 °
|£ oo 0> 0 33
- * I s s
E
U
l^ (^ < OJ
a>
cr
cn
OJ
u
c
OJ
u
c
OJ
CJ
c
OJ
u
o
j* ro
u or
— *j bO
76
(5
3
o
CO
3
O
CO
3
O
CO
3
o
CO
ro
• < <jT
1) J Q.
> 5
< ^ Z < CL
E
>
J_> 4-1 4J U.
ro
CD
4-*
4-*
j-i ~—
■K! '
0 >
un
fa ro ro
fD
fD
fD
ro
ro
| z
CDicOlcO
1 i
CD
CO
CO
CO
CO
1 3A
ON
3A0W
NI
| tj
1 4-J
1 ! ° S
CO
Dl
c
||a5
cn
c
4->
c
3
c
3
CL
t
co
a in w
2 r- cn
4-j a. (/> </)
.!= ro ti
10 "2 r- O
o
^j
c v
oi"
c c n
C C n
^
^
ro O -J
..'. ro o — '
OJ
OJ SZ
u
u
5
Q.
o
UJ
o
Q.
y
x 2?
UJ -*
ro
l/l
o
o
or
3
1/1 w M
3 < £•
a:
F
ui in J»:
n i/i "5
3 < J3
UJ
u
i
l/l
u <
i/i
U <
ro
_l
1/1
_j
i/i
a:
in
u
i/>
3
u
fJl
3
u
01
3
u
l/l
3
I dd0
NO
NO
3A0W
ddO
1 ^
o
r\i
<*
IO
o
I ' lv"
CO
CO
CO
CO
cn
i" 1 o>
Cn
ch
oi
cn
cn
;(« ! Q-
Q.
Q.
a
CL
0.
*
13
Z '"-
fD
0)
3
*■ 0)
O
3
O
ti c
(/j
UJ
2
UJ
U
l/i
O .
>" fc
<u ro
"D 01
oi X
c
Q.
<
.. P =
0) OJ
■fD U "1
E Dl 3
s fD
E
o a
x &
ro
LO
UD
rsj"
r\j~
Bat Boy: The Musical
Fly Information
UPDATED ON: 9-28-08
Item Height In Relation to Proscenium Opening
Cave Drop
SR
0'
Lands on the Deck Floor. Should be even with SR edge of
the platform.
CSR
8'
Lands on top of platform. l'-6" should be into the center
8' section of the platform that corresponds with the
center jut out.
CS
16'
Centered on Center Line
CSL
8'
Lands on top of platform. l'-6" should be into the center
8' section of the platform that corresponds with the
center jut out.
SL
4'
Lands on 4' Platform SL. Should be even with SL edge of
platform.
Cross
12'
Centered on Center Line
Hospital Window
10'
Centered in Distance from Center Platform Jut out and
the End of the Platform Facade. SR of Center Jut Out.
Shelly Window
10'
Centered in Distance from Center Platform Jut out and
the End of the Platform Fagade. SL of Center Jut out. Do
not include the far SL steps.
Small Windows
18'
2' from SR & SL Proscenium Opening/Platform Edge
Medium Windows
16'
6' From SR & SL Proscenium Opening/Platform Edge
Large Window
12'
Centered on Center Line
Pendant
Lights
#1 (SR)
10'
2' From SR Proscenium Opening, Toward Center Line
#2 (CS)
10'
Centered on Center Line
#3 (SL)
10'
2' From SR Proscenium Opening, Toward Center Line
Meat Hooks
#1 (SR)
8'
5' from edge of SR proscenium opening, towards
offstage.
#2 (SR #2)
11'
3' from edge of SR proscenium opening, towards
offstage.
#3 (SR #3)
9'
2' from edge of SR proscenium opening, towards
offstage.
Page 1 of 1
Dills 91
SECTION 4
- Process Photographs -
Section 4: Process Photographs
Dills 92
- Section 4: Process Photographs -
Dills 93
Dills 94
SECTION 5
Production Photographs -
- Section 5: Production Photographs
Dills 95
- Section 5: Production Photographs -
Dills 96
Section 5: Production Photographs -
Dills 97
- Section 5: Production Photographs
Dills 98
Section 5: Production Photographs -
Dills 99
- Section 5: Production Photographs -
Dills TOO
Section 5: Production Photographs -
Dills 101
- Section 5: Production Photographs
Dills 102
*■
;<
Burn You Freak, Burn!
M 1
i^l
it *|
& !
la
el
l| HI
Dills 103
SECTION 6
- Postmortem -
- Section 6: Postmortem - Dills 1 04
Postmortem for But Boy: The Musical
I began the process of designing this production of But Boy: The Musical during the
month of May 2008. I was attempting to get ahead and begin the process early so that the
scene shop could begin building the set over the summer. This show was slated to be the first
production of the 2008-2009 theatre season. It was also to be the first musical in the new Theatre
on the Park, making it the the first musical to be staged by the Columbus State University
Department of Theatre since Once Upon a Mattress during the 2006-2007 theatre season. I
wanted to ensure that we had enough time to get this show on its feet and solve any problems
that might arise.
The overall concept for this production was man versus beast and what is the actual
definition of what makes a person civilized. The show asks the question: is it truly the bat boy
who is wild or is it the townspeople of Hope Falls? The director's goal was to show how truth
is only revealed in the bat boy's environments of the cave and the forest and that no matter how
hard he tried he could not escape who he truly was. This show wants the audience to realize that
we should all accept and be happy with who we are. To express these notions visually. 1 make
the bat boy's cave an ever present figure that loomed in the background as well as encroached
upon and up the proscenium arch. These elements were the upstage cave platform and the rock
units at the downstage right and left corners.
The large upstage cave unit platform also provided an answer to the requirements of
the show's staging. The closing song of Act I, "Comfort and Joy", requires all of the locations
previously seen in the show to be seen all at once on the stage. These included the town hall,
the Parker living room. Shelly's bedroom, and the hospital room. The large number of locations
meant that multiple set wagons were not possible. A tall platform incorporated into the set as
Shelly's Bedroom and the Hospital Room would be the solution. Ultimately, the cave served to
- Section 6: Postmortem - Dills 1 05
further the story and provided adequate sight lines for a complicated musical number.
The largest challenge that 1 faced during this process was communication and getting my
ideas, both on paper and verbally, across to other people. Something that I have noticed is that
1 tend to do everything myself because 1 find it easier than explaining what I desire to someone
else. This was impossible for this production, nothing would have been accomplished if I had
operated like this. In addition to delegating work to the build and paint crew. I had to accept
the quality of work that was given to me. 1 had to realize that my expectations of others and
their work are often too high and I need to be grateful for the work given me and work on better
relating what I expect the final product to look like.
Being a student in such a leadership position as Scenic Designer can be intimidating and
overwhelming. Working alongside faculty designers and directors as equals is stressful. They
have years more experience than I do. Not letting them run over me with their ideas and getting
them to hear my ideas proved to be challenges. Such a creative team of people can be very
strong willed and outspoken. I had to find the fine line of hearing the others on the design team
out, taking what was helpful from of their ideas, incorporating them into my own ideas, and
keeping the original flavor of my own ideas/design.
I think there was a great deal of miscommunication or a failure to communicate between
the design team, directors, orchestra, the choreographer and myself. Too often during the
rehearsal process, things that were needed were not communicated to the people who needed to
know, some people would say that they were going to take care of certain things and then did
not. I should have been more on top of following up with people and being more involved and
available during the rehearsal and building process. 1 did make it a point to stop by the scene
shop on a daily basis and discuss the progress of the set with the shop foreman/technical director.
Several aspects of this design did not work when it came to the final product. The
moveable trees proved to be harder to execute, build, and rig than expected. We did not have
- Section 6: Postmortem - Dills 1 06
enough hardware to make all four trees function and I kept trying to get the hardware for free.
I was not successful and that caused us to be rigging the last tree the day of the first technical
rehearsal. While the trees were a great idea, they proved to be hard to move and four of them
were one too many for the stage. We eventually cut one of the trees from the set. meaning that
we did not need to purchase the extra set of hardware for the fourth tree. That hardware and rope
was several hundred dollars that we could have saved.
Another part of the set that could have been reworked was the size of the cave drops.
They should have been built, rigged, and flown out before the cave platform was constructed.
Also. 1 did not take into account the height of the borders. The borders cut off the top of the cave
drops meaning that they were taller and larger than they needed to be. If they had been smaller
they would have been much easier to handle and rig. Their size caused a great deal of problems
because it took a large number of people to move. We rarely had enough people working in the
shop to move the pieces and rig them safely.
Time management, via myself and the scene shop, was a challenge. One of the first items
in the set to be approved by the director was the upstage cave platform. Therefore, it was the
first item to be drafted and turned into the scene shop for construction. The technical director
and theatre practice crew were very efficient in building and legging the platforms, but these
should have been completed after the flying elements were fully rigged. Not being able to lay
the pieces flat on the stage floor added to the difficulty that we had in rigging the flying scenic
elements.
Designing the set for Bat Boy: The Musical was a learning experience and has made me
a better, more effective designer and theatre practitioner. 1 will take what I learned with me into
graduate school and on into the professional theatre community.
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11