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I just finished reading the show again concentrating on the physical requirements: props, scenery, furniture, and how they all interact with the actors. It looks like the script requires two doors, the front entry to the house and the door between the living room and operating theater. The door between the two rooms seems to be the most important. Because the action needs to be seen on both sides, and due to its symbolic significance, it has to be an actual door. So I need to solve this problem first then move on to the main entry.

Other questions. . . . The script calls for a rolling pram. How does that affect the use of levels and steps in the architecture of the set? Mrs. Givings must be able to hide behind a sofa in the living room, how does that work? Of course the action at the end of the show affects everything and that will be very difficult to pull off in The Playhouse.

I do have a feeling in my head about what this set looks like, and I do stress feeling, because the image is not clear to me yet.  More research is needed.

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So I had my first meeting with the director (Jennifer Uphoff Gray) about the design for In the Next Room. I came loaded with notes about the set, props, furniture and the action as described in the script.  I did have an idea about how to deal with the setting change at the end of the show but is was dependent upon how Jen wanted to deal with the front door, piano, levels and some other furniture placement.  I explained some of my problems, which she immediately resolved, much to my surprise and relief.

So I believe we have a working idea with regards to the basic set layout and the system we are going to use to end the show.  The next step is to develop a floor plan with all the elements in real space, in real scale to see if our ideas actually work or what we might do to make that happen.

I also showed her some of my research regarding the history of electrical vibrators. One can say it was interesting. During my lunch break I have been known to do set and prop research at work  via Google.  When I was researching the butterfly collection for Why Torture is Wrong, and the People Who Love Them,  my boss walked in,  looked at the collection of M16 rifles, machine guns, assorted knives, battle axes, swords, and other torture devices that I had copied and asked me if I was feeling okay.  Imagine the look on his face when he saw the vibrator collection!