An Interview With Set Designer Parmida Ziaei and Lighting Designer Amiya Brown
Parmida Ziaei and Amiya Brown
Tell us about building the world of the play. What words and inspirations guided you?
Parmida Ziaei (PZ): I think the key word to set the tone of the play was “anachronism” and how we could create a world that lives both in contemporary and period time, and also feels fun and beautiful. I was really inspired by the beauty and nature of the English countryside, but also a more contemporary and fantastical watercolor and ink style that could visualize the inner artistic worlds of Marianne and Elinor. I was also inspired by the idea of the softness of the countryside versus the edginess and glamour of London and how we could show that in the design.
Amiya Brown (AB): Guided by an anarchistic point of view, by blending the contemporary and period elements, we sought to create a fantastical world. Creating an a watercolor world as if it was created by Elinor’s beautiful paint strokes. We also talked a lot about the difference between the English countyside and London. “London has Teeth” our fearless director, Jes Spencer, often said. I translated that to mean that the countryside had a softer, warmer quality of light, whereas London was sharp and edgy.
“I’m excited for the audience to be immersed in beauty and fun and feel like they are in the world of these characters who love deeply and move fluidly like the watercolor backdrop.”
-Parmida Ziaei, Set Designer
Inspiration imagery courtesy Parmida Ziaei and Amiya Brown.
The set on stage is minimal due to the fast transitions between scenes. What did you rely on instead to suggest the feeling of each new location?
PZ: A more representational approach with the architecture and the natural environment allows for locations to feel very fluid. My biggest scenic pet peeve is long transitions that take us out of the story so I wanted to make sure that I minimize those and just allow the furniture and lighting to set the tone of the location instead of physically changing the space way too many times. That way going to London would feel like a much more exciting surprise for the audience as well!
AB: We all worked to make the transitions as speedy as possible to keep the story moving, but the transitions also gave us great opportunities for storytelling. We used specific areas and arrangements of the stage to define the various locations. I supported transitional storytelling by shifting the light from daytime to nighttime and exterior to interior spaces.
Flower model by Parmida Ziaei.
Production photo by Angela Sterling featuring Lindsay Welliver, Alegra Batara, Sophia Franzella, and Sunam Ellis.
“Working with this amazing creative team was truly one of the most collaborative design processes that I have experienced in Theatre.”
-Amiya Brown, Lighting Designer
Which comes first: set or lighting? How did you work together to create your designs?
PZ: Most people might say “set,” but I think they go hand in hand. I love integrating lighting in my scenic designs and collaborating with the lighting designer from the beginning to create a more cohesive and exciting world that can be animated through all of its design elements.
AB: Even though Parmida’s deadlines came first, I believe that the whole design for Sense and Sensibility was crafted collaboratively. The set has many lighting elements that Parmida and I worked closely to formulate. Working with this amazing creative team was truly one of the most collaborative design processes that I have experienced in Theatre.
What in the show are you most excited for audiences to see?
PZ: I’m excited for the audience to be immersed in beauty and fun and feel like they are in the world of these characters who love deeply and move fluidly like the watercolor backdrop.
AB: I am excited for the audience to go on the journey we have crafted for them. The play takes us through some emotional twists and turns while the environment shifts to support each moment. It is truly a rollercoaster of love.
Sense and Sensibility plays in Issaquah February 1-March 12 and in Everett March 17-April 9, 2023.
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