Dial M For Murder

Anointed by Robert M. Hupp

I first met Bob Hupp when he was the Artistic Director of the Arkansas Repertory Theater. I was set to design a new musical called Treasure Island, which would debut in Bob’s theater. Brett Smock was my director for the show. When Bob asked Brett about his chosen creative team, Brett mentioned my name.

Bob, who was familiar with my work, expressed concern that I might struggle to work within a smaller budget, given that many of my previous projects had been grander and required larger budgets. To reassure him, I needed to provide examples of my earlier design work demonstrating my ability to work within tighter financial constraints.

I was eager to design a musical version of Treasure Island, so I reviewed my files and found some of my earlier designs, all documented in slides. I discovered work from the Grove Shakespeare Festival in Southern California and two shows I designed on Theatre Row on 42nd Street in the 1980s. After converting these images to digital format, Brett presented them to Bob.

It was well worth the effort, as he approved me as the designer for the show!

Mutual Debuts at Syracuse Stage

Bob went on to become the Artistic Director of Syracuse Stage, and he kindly asked me to design his first show of the season, The Three Musketeers, which was his directorial debut at the theater.

This marked the first time we collaborated directly as Designer and Director, versus Designer and Artistic Director. There was no drama with Bob, which made the project a joy to work on. His support team at Syracuse Stage, including those constructing and painting the scenery, the prop team, stage management, and company managers, did a fantastic job producing the highest quality work. The show turned out beautifully, and I had a wonderful, fulfilling experience working with Bob. Additionally, I won the SALT Award for Best Scenic Design that year!

7 years and a Global Pandemic

Six years later, I posted a story about the excellent collaboration and design work for The Three Musketeers on LinkedIn. To my surprise, Bob replied to my story that it was one of his all-time favorite collaborations he’d ever had in the theatre. I called Bob, and we got caught up on six years of life. I told him I was very interested in working with him again. He said the theatre would most likely be sharing productions with other regional theaters because the funds for the theatre were so limited.

I was disappointed, but a few weeks later, he called me and said, “I will direct the play Dial M for Murder. It has a small cast, and the play takes place in a single-period set. Would you be interested in designing it?”

An opportunity to have another fantastic, highly collaborative theatrical experience with Bob Hupp? Of course, I said yes!

He sent me the script, and I read the play. In our first Zoom, I mentioned that this was my first realistic period interior set in 30 years. Bob said, “I’m very aware of that, and it’s sorely missing from your portfolio, but I’m going to change that.”

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Creating the Perfect Location for a Murder

Before our Zoom meeting, I needed to conduct extensive research for the design. The play is set in the fall of 1952 in London. Margot Wendice, the lead character, lives in a large, beautifully detailed flat once part of a more significant Manor House. This Manor House had been divided into separate high-end flats. The interior of the Manor House would have likely been designed in the Edwardian period. I found imagery from that period showing that these rooms were typically painted or wallpapered in lighter colors, like dove gray. However, I thought, “How can we create any mystery or suspense for the murder scene if the set is so light in color?”

I conducted research and discovered several elegant interiors painted in deep and sultry colors, such as teal and blue. I gathered and organized images of decorative elements, including:

• moldings
• cornices
• set-in panels
• archways
• fireplaces
• library shelves
• doors
• windows
• columns
• pilasters
• capitals
• parquet floors
• anaglypta
• garden trellises
• mid-century modern furniture
• artwork

Serving up the Key Details

We set up a Zoom call to review the research. We looked at the imagery together, and Bob and I discussed various design elements. Because I was presenting hundreds of options, I often asked him to choose his favorites. For only a couple of items, he requested that I find alternatives.

As a Scenic Designer, I’d never submit anything to a director I disliked or felt was inappropriate for the story. I was pleased we were aligned on everything, particularly concerning the details and colors of the interior.

Bob specifically mentioned, “Appearances mattered to Margot. Since she’s quite wealthy, the interior of her flat would have exquisite details and be well looked after.” I explained my idea to Bob about using warm, harmonious wood tones of mid-century modern furniture and how that would go beautifully with the grand teal coloration of the walls.

Another concept I frequently share is that the set serves as a “platter” and the actors and story are the “meal” …or feast! It’s about focusing on what’s most important, but that details matter! For Dial M, the set’s walls and other details would be served on a platter of an intricate and warm wood parquet floor. I was sure Lux Hacc’s stunning period costumes would pop out from this warm environment.

Bob was adamant about the 'key scene.' In this pivotal moment, a key is hidden under the carpets on the stairs in the building's common area, visible through the flat's front door. Bob insisted this action needed to be seen from every seat in the theatre, including the balcony.

We researched other designer's work for the play online, and some scenic designs had located the front door to the side of the stage. We found it strange that only a third of the audience could see this crucial moment in the play. We decided to have our key scene happen directly center stage. We wrapped up our conversation, and Bob said, “This is great, Stan. I look forward to seeing the sketches.”

Margot’s Teal Interior

I utilized the research for Margot's teal interior and sketched out detailed elevations of the interior walls, arches, and other features, all drawn to a scale of 1/2" = 1'. Using my initial ground plan, I calculated the walls' lengths and the space's overall volume. The wall layouts were very rough.

My scenic design features a spacious room with walls rising 14 feet to an elegant cornice. The upstage center wall has a grand double door that opens into the hallway's common area and stairs. The design includes decorative chair rails and baseboards, with the wainscoting covered in Anaglypta, a bas-relief Victorian wallpaper made from paper pulp, developed in the late 1800s.

Decorative niches are set into the wall on either side of the center double doors. On the right is a door leading to the bedroom, while a swinging "saloon" door to the kitchen is on the left. The double doors and the raised foyer will allow the audience to see the “key scene” perfectly.

As you can see below, the stunning wall on the left features a magnificent archway that leads to a lovely conservatory. The glass doors open to a beautiful garden adorned with an arbor covered in vibrant autumnal leaves. Recessed decorative panels on both walls add an element of sophistication, while two elegantly arched bookcases frame the right side of the stage (stage left for my theatre folk). This captivating, opulent sanctuary showcases Margot's wealth and societal status.

how do I present this design?

How would I present my work to Bob via Zoom in three hours? I took my rough sketches, scanned and printed them, taped them together, and placed them onto my basic ground plan.

I planned to work out the details of the garden area later. The sunlight streaming through the blinds in my studio made capturing videos of the model difficult, so I placed a couple of pieces of blackboard behind it to reduce the brightness. I added some scale figures, grabbed my phone, and recorded videos panning across the concept model.

I’d never presented anything like this before, and I was pretty nervous because my wall layouts were very rough and sketchy. During our Zoom meeting, Bob and I discussed the design. When I shared my videos with him, he thought they were fantastic. He said, “I love it! It communicates your intention for the scenery. This provides much more information than I expected from a sketch.”

Bob did have some concerns about the fireplace on the left wall of the stage. In most real-life homes with fireplaces, furniture is typically arranged around them, leaving only one viable spot for the bar in our play: upstage right. However, we both agreed that this location would be too far from the audience and challenging to see behind the desk I located on stage right. Since much of the play revolves around the prevalent drinking and smoking culture in 1950s London, this posed a significant challenge.

The solution was simple: we removed the fireplace and placed the bar centrally between the library bookshelves. We preserved the wall protrusion, which highlighted the bar area where much of the play’s activity occurs.

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Red Labyrinth

I had another question for Bob: what artwork would be displayed above the bar? I immediately knew the perfect piece. I owned a painting called “Red Labyrinth” that my friend Carol Smargon had gifted me many years ago in New York City. She was planning to throw it out, but I adored it, so I took the subway to Queens to pick it up. It hung in my NYC apartment, and when I moved to Orlando, it came along with me.

To show Bob the painting during a Zoom call, I took my laptop into the hall and shared the art with him. He thought it would create the perfect mood for the show.

To send the painting to Syracuse, I removed it from its frame, rolled it up, and shipped it. Since I didn’t need it back, I suggested to Bob that they auction it off to raise money for a student scholarship at Syracuse University.

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Design Drawings

I collaborated with my Associate Scenic Designer, Jason Curtis, to develop the design drawings for the set. Jason used a computer program called Rhino to create the designs that showed the set in 3D. He shared the Rhino design over a Zoom meeting with me, and I recorded it.

I shared this video with the entire team to update everyone on our progress. Although the Rhino video showed the design in 3D, it was still being viewed in 2D on their computer screens. I decided it would be beneficial to build a 3D model of the set for Bob and the cast to use during rehearsals.

I worked with Randall Steffen as the Technical Director for The Three Musketeers at Syracuse Stage and was fortunate to have him back as my Technical Director for Dial M. He made collaboration easy and was an exceptional problem solver. When I shared the initial design drawings with Randy to check if we were under budget, he reassured me with a laugh that we would be fine.

This design was much more straightforward than The Three Musketeers, which was set in 17th-century France and featured many platforms, stairs, and railings. The set for The Three Musketeers was crafted to be the perfect playground for sword fighting and staged battles choreographed by Fight Director, DC Wright. DC would also choreograph the murder scene for Dial M For Murder. Since this was my third collaboration with DC, coordinating the set and props to accommodate the murder would be much easier.

Jason and I found research on original pilaster designs from the late 1800s to the early 1900s, which we included in our design drawings submitted to Randy. He reached out to me and asked if I could create the pilasters using a series of appliqués that would be more affordable. While searching for options, I agreed to this process and discovered several appliqués available at Home Depot!

I began laying them out on a 1"=1' scale. However, I encountered difficulty visualizing how the pilasters would look on stage alongside the other scenic details. To better understand their overall impact, I printed the appliqués at full scale and taped them to the wall of my studio.

As you can see in the middle photo, I added a line of tape along the sides of the applique to represent the raised edges of the pilasters, ensuring that the appliqués I selected would fit properly. It was a down-and-dirty makeshift approach, but it effectively demonstrated how the pilasters would appear to Randy.

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Color & Sheen for Margot’s World

I chose to create my paint elevations on sheets of teal-colored Canson paper. I printed the CAD drawings onto the paper and colorized them with watercolor and wax pencil.

After discussing this with Emily Holm (Scenic Charge Artist), Dawn Chiang (Lighting Designer), and Lux Hacc (Costume Designer), I suggested that they all purchase a sheet of teal-colored Canson paper. This way, they could see the exact color I’d be using as a base color for the scenery, and it’d give them the information they needed to start their design work.

My paint elevations and the research imagery showed the cornice and other moldings in a beautiful dark metallic bronze. I suggested that Emily apply a light glaze of the base color over the bronze metallic. This way, the audience would still appreciate the cornice's opulence without it distracting from the actors.

Over Zoom, Emily shared the first paint samples of the walls, with options for color and sheen. She took photos of them in sunlight, shop light, and warm incandescent light. I picked one, and we moved forward.

In our next Zoom meeting, she shared her second round of paint samples, which were done over sections of the Moldings, Friezes, Pilasters, Capitals, and Anaglypta we were using on the set.

Her paint samples were some of the most beautiful I’d ever seen, clearly showing the many options we’d discussed. Emily Holm is a blessed and talented artist, and her ability to determine the exact combination of color and sheen made it easy for me to choose the ideal combination.

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Mid-Century Modern London

I went through a similar process with Mara Rich, Props Supervisor. Her attention to detail and expertise are remarkable—she’s a Prop Goddess! The university students in her classes are fortunate to have someone as talented as her sharing their knowledge of the craft.

I shared my research with Mara, who provided several furniture options in her inventory. We explored reupholstery fabrics for the mid-century modern chairs, and she purchased a low-back sofa online that beautifully captures the era's essence.

We explored numerous desks and bars together. I discovered a stunning art deco bar online through a high-end auction site that included all the measurements. Though the bar was expensive, Mara mentioned she’d budgeted to build two pieces of furniture. I was shocked!

Mara and her Associate constructed the bar from the ground up, featuring beautiful, rich finishes and elegant curved woodwork. Additionally, there was a research image of a desk that Bob liked, so Mara decided to create that piece of furniture as well. It would match the design of the desk Bob wanted, and she could reinforce it for DC’s fight choreography during the murder scene.

Toward the end of the process, we were treated to Lux Haac’s beautifully designed and crafted costumes, accessories, and fabulous wigs during technical rehearsals. Their garments told a story of wealth and class, stunningly complementing the harmonizing colors of the scenery.

Our sound designer, John Gromada, also composed the underscore to enhance the play's scenes and transitions. His beautiful, abstract design reinforced the play's period and created a cinematic feel. This collaboration marked our second project, the first being a new play titled WarholCapote, staged at the American Repertory Theatre (A.R.T.).

Typically, the schedule allows for only one morning for the actors to be on the set before the lighting starts its process in the afternoon. Although this was not a lot of time, the exceptional productivity of the shop, the stunningly beautiful scenic painting, and the diligent pre-work done by the prop department allowed the actors to be on set three days earlier than usual. It was an incredible luxury. I always enjoy watching the actors experience the scenic environment for the first time as they gradually take in the space and eventually make it their home.

I observed Dawn Chiang as she focused her light plot. A lighting designer's process can teach us much about the artistry of creating a production.

At first, I was a little concerned because it was one of the first times I had designed a set where the lighting designer was not directly focusing light onto the set's walls. But as she got through the focus and started to bring up the lighting on the stage, the lighting was flawless. I had never seen a lighting design like this where the actors could move through the space, and there would be no shadows or highlights to distract the audience. The actors would be perfectly illuminated. It was like watching a movie. The actors could be seen clearly from every seat in the theater, including the balcony. Because there was no lighting on the walls of the set, my design looked more realistic, almost to the point of being cinematic.

The set had four wall sconces on the stage left wall and two pendant lights above the foyer. Period brass fixtures painted to match the base color of the set hung over the paintings to illuminate them. Two lanterns were on the garden arbor. The only time Dawn placed light onto Margo’s walls was the night scene, when the moon was glowing through the garden and conservatory, mysteriously illuminating the flat's interior.

Being surrounded by incredibly talented, creative artists at the top of their game is always a joy. People occasionally entered the theatre during rehearsals and commented, “Oh my God! This set is so beautiful! I want to live here!”

The audience enjoyed the play, and I received compliments on my design work. Dawn sat next to Bob Moss, who was the Artistic Director at Playwright's Horizons in New York City. On opening night, she mentioned that he had turned to her three times during the show and said, “This is one of the most beautiful sets I have seen in years.”

The performances were terrific, and it was an incredible experience to collaborate with so many talented artists. At the same time, it was humbling. After Opening Night, as I walked into the lobby, several audience members remarked, “If we didn’t know we were in Syracuse, we would have sworn we were watching a Broadway play.” Thank you, Bob, for asking me to work with you and create something amazing for your theater. This experience has filled a gap in my portfolio that was sorely missing.