Live Design Online: Anne Frank and an Afro-Latin Hip-Hop musical may seem like strange theatrical bedfellows but they are the premise for Slam Frank, an edgy production that reimagines Anne Frank’s story through an intersectional, multiethnic, genderqueer, Afro-Latin hip-hop lens.
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I think the design of Slam Frank sounds especially interesting because it uses the set design to reflect the unusual style of the musical instead of trying to make the production look traditional and very polished. I like that the scenic designer chose inexpensive materials such as scaffolding and old-fashioned lights to create a chaotic environment. According to the article, the set also surrounds and emphasizes the large, non-period video screen. I think this is a good example of how a set does not have to be realistic to be effective. The messy and somewhat improvised appearance seems intentional and fits the show's unconventional approach to Anne Frank’s story. I also found it interesting that the original production used very few scenic elements and that the designers expanded the set after the show had an audience. Overall, I think the design demonstrates how creativity can be more important than having an elaborate set.
I’m so glad the set designer for Slam Frank took this approach. Slam Frank has been a controversial piece, especially on social media, but it undeniably has fans. And part of what has attracted those fans has been the musicals seemingly unreal air, the feeling that surrounds it that “surely no one would make this,” that “this can’t be real.” An earnestly designed and built set would have detracted from that air, grounding the production in a way antithetical to what made it a hit in the first place. I also really enjoy the idea of a set constructed from set cliches. It's such a fun idea and definitely something to play with in shows that exist in more meta spaces. I do hope that this set does not make the show into a true play within a play. Its undefinable nature is what makes it special, so to fit it into a box that we are already familiar with would be to its detriment.
Adam Koch’s set design for ‘Slam Frank,’ a new musical premiering in New York, offers a twist on a piece that originated with no set. Interestingly, Koch is a graduate of Carnegie Mellon’s School of Drama - I have been able to follow along with his work through his active social media use, so I found it interesting to read a direct Q&A within the live design article. I found it fascinating to see Koch perspective on his design and how it can transport to different locations within the play, and how he can incorporate the existing architecture of the theatre into the design. Additionally, the design offers an eclectic and chaotic atmosphere. It is striking to see the large and poignant use of media design within this show. Media design has obviously become popular in all of live entertainment, but it is intriguing to see such a large use of it as a predominant scenic feature in a musical done by Zack Lobel. Adding to the design elements, Jamie Roderick lighting design is able to augment the design; it was enjoyable to see all elements included in the renderings of the show.
I first stumbled across Slam Frank about a year ago, and I was absolutely gobsmacked learning about the plot. I almost went and saw it at Asylum Theatre, but decided not to go after learning about the crazy plot and sparse set. Now that the production is achieving success and moving to Off-Broadway, I'm glad there is the budget to add a set. Originally there was a LED screen, but I believe that having a tangle set in the space adds a different feel the production needs.
Having the show be a "scrappy" production makes sense, and I'm happy the scenic designer is keeping that idea at the forefront of their design. It's also refreshing to hear that the scenic designer, lighting designer, and video designer have gotten along during this process. I am under the impression that this is difficult to find in the industry. I'd be curious how the show does at the Orpheum, and if it makes it to Broadway.
I am so confused about this show… Not to say you can’t do shows about Anne Frank, but is this one taking it a little bit too far? It feels like a hip-hop musical about 9/11. Eek. Content aside, from anew works lens it is really interesting that early iterations of a show start bare bones then gradually add more tech elements, in this instance a set, as budgets and venues get bigger. It affirms once again the heart of what we do: storytelling. If the story is crap no matter how many bells and whistles you put in top of it the production is still going to be crappy. We had an interesting discussion about this in Stage Management seminar last week: what qualifies a successful production? Is it the audience approval or quality of the experience for the team? I’m in the boat of it’s the teams experience, at least from a management point of view. The experience of your team is what you have direct influence on, the script or design not so much.
- Mags Holcomb
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