Let's talk about sets: Takis on In the Heights

The transfer of In the Heights was something that the whole team was waiting for with excitement. We all knew though that we had to find the right venue which would allow us to keep the intimacy and connective energy between the audience and the performers as successfully as we had at Southwark Playhouse.

The biggest inspiration for me designing the show was the music. It struck me from the first time I heard it. I kept listening to it and having it on while I was sketching and designing the show. Rhythm, heat and colour hits you from the music and these are the elements that I tried to keep and develop within the design. Also it’s the kind of show where you need to find a successful balance between naturalism and abstraction. Instead of a ‘set’ I was very keen to create an environment, which includes the microcosm of each key character; Usnavi’s bodega, Rosario’s car service and Daniela’s hair salon. And all of these connected with the subway lines of NYC. Lines of their lives which have their own journey, but they are also interconnected with one another on a daily basis.

The biggest challenge for the transfer was the location. We knew when Tristan and Paul (the producers) suggested it, that King’s Cross Theatre would be perfect for the piece, but there were many challenges. Sharing the space with The Railway Children and running both shows simultaneously was a big challenge. It took me a bit of time to figure out how to totally transform the feeling of the space and create a completely different environment, which will serve the story but also practically give us levels and possibilities to use it choreographically and finally add colour.

I had to design the show knowing that we will only have a one hour turn-around between shows, and that my set had to be stored in 2m x 2m tracks. Also that I had to find a solution for covering the beautiful wooden floor of The Railway Children‘s set. My solution was a printed dance floor (which also supports dancers and performers choreographically) and an articulated, two piece, telescopic set was the best technical solution. I had to design the engineering concept for this, which the engineers then approved to my great surprise!

Looking at the unique venue I wanted to use all the unusual elements to our advantage. For example, the railways tracks were a perfect way of bringing the audience into our world by imagining them as subway tracks which the audience pass through, then emerge out into Washington Heights.

In the Heights has been a unique show, a show where the whole team has pulled together as one from the creative and technical teams, to the performers, producers and extraordinary makers and engineers. It is an energetic and vibrant show, don’t miss it!

– Takis

In the Heights runs at the King's Cross Theatre until 1 November.