# data[].attributes.body
Location: Train
Sound: I wanted to keep the sound on the 21st Century scenes as natural as possible, in order to subtly reflect that these are the real scenes and the 18th century ones are a play. So for this is I used a sound effect of a train recorded from the inside.
Set: My first formation of boxes reflects the inside of the train carriage, with Ella and Claire facing each other. The actors would bring the. boxes on themselves and position them for the scene during Eleanor's opening line, to reflect that most of the show is a fabrication.
Lighting: For this scene, I would use a simplistic warm wash that fills the stage to reflect natural, mid day lighting. This comes from my concept in which the 21st scenes should look as normal as possible, with only slight hints throughout that they aren't real.

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Location: Drama studio
Sound: Again, for the sound I have kept the tone natural, as this scene is also 21st century. I used a combination of real soundscapes from classrooms to create something that reflected classroom noises, both internal and external.
Set: For the drama studio layout, I wanted to incorporate all six boxes and have the actors entering the scene and moving them to a place of their choosing. It creates a cluttered and disorganised mood to the scene.
Lighting: Again, I would continue the same naturalistic lighting in scene 1. A warm wash of the whole scene.

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Location: Food tech room
Sound: I used a combination of real soundscapes from classrooms to create something that reflected classroom noises, both internal and external. The aim of the sound ere, and with all 21st century scenes, is more to create a sense of location than be too overpowering and distract from the play itself.
Set: I wanted to contrast the drama studio with this one. They are both classroom settings however have very different feelings about them - both within and outside of the scenes. I wanted this set formation to be organised and structured rather than random and careless.
Lighting: For this scene, I wanted to use a similar wash to scene 1 and 2, but in white rather than a yellow. This creates the effect of a more stark and bright room, as the food tech room is more likely to be a lab rather a classroom.

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Location: Nightclub
Sound: For my sound, I kept with the naturalistic theme but reflected the drastic location change. I layered the sounds of talking over nightclub music to create an even sense and make the club seem full.
Set: The box formation for this set involves forming the bar with four of the boxes, and placing it on the top layer for Claire to stand behind, to be created during  the scene change - again, to reflect that all these scene are a fabrication, and that the play acknowledges this.
Lighting: For this one, I would use a combination of a darkened stage with multicoloured gels on the lights to create the effect of a nightclub.

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Location: 19th Century Brothel
Sound: for the scenes in which there is a distinct time period change, I wanted to show this by using sound that was a lot less natural than the 21st century scenes. Therefore for these scenes, i used a continuous drone sound all the way through. Because I am using the same formation of set throughout I needed something to clearly show a difference.
Set: For this scene, my box formation is based on the layers of staging - allowing our 18th century characters to be on the top layer, and our 21st century characters, especially later in the scene when Frank comes in, are free to walk around on the lower layers. This also helps to show a clear distinction between the time periods.
Lighting: I wanted to return to the original state from scene 1, a general warm wash, however a little dimmer to create a better atmosphere of a dark, dingy location.

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Location: Frank's house
Sound: I decided not to use sound for this scene. The intention of this is that it doesn't allow for any sort of distraction. The silence within this scene is almost painful to reflect the awkwardness of the situation, and allows the audience to feel as trapped as Frank - with nothing to distract them from the suffocation of what's going on around hem.
Set: For this formation, the middle two boxes reflect the table in the middle for the food, and then the other four boxes arranged around for each of the four characters. Again, this is on the top two layers, allowing Eleanor to watch the performance from the bottom layer.
Lighting: I would maintain my general wash for this scene.

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Location: Car park
Sound: I combined a couple of different sounds - cars moving around, driving away, etc. to create my soundscape for this scene.
Set: I didn't want to use any of the boxes in this scene. Clearing the set and stacking the boxes symbolises Frank de-cluttering his life, as he's finally free from his parents, and contrasts how they were all used in the previous scene. The actors playing Frank and Ella would do most of the work in this scene transition, in order to show they are becoming the one's in control.
Lighting: This would be a very bright wash, to reflect the brightness of being outside, and to show the difference between that and the previous scene where they were all trapped inside.

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Location: Costume cupboard/school
Sound: Again, I used a school bell to indicate the beginning of the scene and then a soundscape of general classroom noises.
Set: I decided to divide my stage in half for this scene, having one half be the costume cupboard and the other half being the classroom for the trolley scene. This allows the actors to remain on stage throughout the whole scene and creates a seamless transitions between locations.
Lighting:  I would maintain my general wash for this scene.

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Location: 19th century orphanage
Sound: I wanted to begin to create a confusing atmosphere around this scene, and start to subtly break down the walls between what's real and what is a fabrication. Therefore, I used the sound effects from the previous scene to show a modern school, but layered them over this 19th century scene. The impact of this is that it reflects Ella's breakdown of reality and begins to show the audience that these two worlds are less separate than they appear.
Set: I used the boxes to create a bed formation, placed on the middle layer, so it's unclear what reality these scenes are taking place and that Eleanor - our storyteller - is getting confused.
Lighting: A darkened warm wash, to create the impression of night time.

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Location: Food tech room
Sound: I used a combination of real soundscapes from classrooms to create something that reflected classroom noises, both internal and external.
Set: I wanted this set formation to be organised and structured rather than random and careless, with a box up front for the bowl of blood, which can be seen clearly by the audience.
Lighting: Once again, I wanted to use a general wash that is white rather than yellow or straw, this creates the effect of a more stark and bright room, as the food tech room is more likely to be a lab rather a classroom.

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Location: Orphanage
Sound: I re-used the continuous drone sound effect from previous 19th century scenes to subtly tell the audience the time period and also create a tense underlying atmosphere.
Set: I used the same bed formation in order to quickly and easily establish the location.
Lighting: For this scene i would use a very darkened lighting state to reflect the time in which the scene takes place - night.

# data[].attributes.body
Location: Drama studio
Sound: Again, for the sound I have kept the tone natural, as this scene is also 21st century. I used a combination of real soundscapes from classrooms to create something that reflected classroom noises, both internal and external.
Set: For the drama studio layout, I wanted to incorporate all six boxes and have the actors entering the scene and moving them to a place of their choosing. It creates a cluttered and disorganised mood to the scene. It also makes it harder for Frank and Ella to run away at the end, because the formation of boxes is random.
Lighting: Again, I would continue the same naturalistic lighting. A warm wash of the whole scene.

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Location: Elenor's hospital room
Sound: Once again I used the continuous drone sound effect. This shows the breakdown of reality, having 19th century sounds in a 21st century scene, to show that there is little to no distinction between the two at this point. it also crease a sense of tension throughout the scene.
Set: I decided to clear the stage for this scene but leave the boxes across the bottom layer, trapping Eleanor on stage. The actors from scene twelve would move and box and leave behind it - trapping Eleanor inside and reflecting how she's trapped in this hospital.
Lighting: I would use the same white wash from the food tech scenes, to create that bright white hospital feeling.

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I wanted to uses boxes as part of my et because they can be moved around and manipulated really easily. into whatever is needed for the scene. I decided to go with six boxes in total, not always being used but always on stage, to allow for the smoothest possible scene transitions that flow in a short amount of time. Also, the use of the boxes reflects the scenes in the play, that almost all of them are a fabrication. The actors themselves rearranging the sets shows that Eleanor is creating these scenes that they aren't real.

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After a period of experimentation, I decided to base my set around one of the main themes within the show - theatre, writing and plays within plays. Therefore, for my base set (pictured below) I chose a stage formation that didn't look as though it was trying to hide it's form - I wanted it to look like a stage. From this, I developed three layers on my set - the floor of the theatre, a block layer, and a small block attached. I decided to use these lays to reflect moments in the show - the bottom layer being a great place of the character Eleanor to stay for the majority of the show. The effect of this is that it distances her from the majority of the scenes and storytelling, and allows her to remain on stage and watch the action as it unfolds. This also creates a nice effect if she moves onto another layer, as it shows the walls between fiction and reality beginning to break, and similar if the other characters move down onto her layer.