Although he isn’t a designer on the show, Mike Donohue, Studio Theatre’s Technical Director, is responsible for creating the set design. He talks with Resident Assistant Director Christopher Mirto about his unique position as a member of the 4000 Miles production team.
What is your role here at Studio?
Technical Director.
What are your responsibilities on 4000 Miles?
I oversee the planning, scheduling, budget management, building, and installation of scenic elements. You can image what would happen if I didn't do it.
What is it like working with Russell Metheny?
Working with Russell particularly is really easy because there’s not playing catch up: he knows all the ins and outs of the spaces because he designed them. It makes my life pretty effortless because he is so attuned to the intricacies of each theatre. I’m really drawn to his personality. He’s really inspirational in pitching in and doing little things, like painting a book case. He doesn’t have to paint the book case because we’re behind or not doing it right. He does it because he really likes the community and enjoys spending time with people. Not many designers are as generous and as hands-on as he is.
What’s the most notable piece of this set, from your point of view?
Every set seems to have at least one piece that presents a challenge and at the very least gives you a small run for your artistic money. Often times it will be the first and possibly last time you will ever build a scenic piece quite like it. This particular set didn't have too many surprises or any moving parts. But there is one piece in particular that I take great pride in—it's a piece that an audience member may not think twice about after seeing it, or even notice it altogether: There is a small scenic wall stage left that acts as a masking wall for offstage. This wall not only has abnormal angles, but is also curved to mimic turn-of-the-century craftsmanship. The wall seems innocent enough, but actually ended up taking the better part of two days to construct. I took the wall on myself so the rest of the shop could concentrate on the assembly line of wall construction they were already in the rhythm of. The wall is constructed out of traditional theatrical flat material, but the curve is where the real magic happens. The curve is made up of bendable plywood that ultimately took three people to bend and shape. Sometimes it truly is the little things that make theatre a fascinating profession.
What are your interactions with the artists like?
Working with the artist on this production has been particularly special. Not only am I working with the founder and co-founder of Studio, but also two designers, Dan and Helen, who go back to the theatre's original conception. It’s hands-down the best design team I’ve ever worked with. Their experience makes it easy because their decisions are precise. Everything is already worked out—they take their work seriously, but not too seriously.
What kind of training do you have?
I graduated from the University of Central Florida with a BFA in Theatre Production and Design. After graduating, I worked in the architectural field for several years before returning to theatre. I found myself in DC working at Arena Stage as scenic carpenter and now into my third season here at Studio.
How do you begin the process with each show?
Each production is introduced to the staff through a director and designer “show and tell.” Here, the play is briefly dissected and all design concepts are revealed. At this point, their concepts aren’t limited by budget or time restrictions, but that soon changes. After receiving a set of drawings from the designer, I begin the process of going through each scenic piece with a fine tooth comb and estimate what each item will cost. This can often be where a designer must make challenging compromises. After some back and forth and creative editing, a final design is settled upon and the building can begin.
What’s one of your favorite theatrical moments here at Studio this season?
I remember losing hours of sleep each night over the light bulb ceiling in Invisible Man. When I finally saw the ceiling light up and fly up and down for the first time it was amazing. I would say that that show was the greatest technical accomplishment of the 2nd floor [where Studio’s shop is located] since I started working here.