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Shakespearean scenography has a long and difficult history, and the challenge for modern set designers working on Shakespearean plays has been to reconcile the tradition of this history with their often-times anachronistic functions for contemporary directors and audiences.

We know a little bit about how Shakespeare's plays looked in their original productions, though no detailed set designs remain (if they ever existed at all). We know that Shakespeare and his contemporaries made ample use of the architecture of the theatre building itself, including the second story (Romeo & Juliet), the inner reveal (Polonius behind the arras) and the doors on either side of the stage. (enter Puck at one door, a Fairy at another).

Certainly some furniture was used (Gloucester's chair, various thrones, etc.) and the dinner scene in Macbeth even suggests a grand table setting. However it seems most likely that set elements were used only sparingly, limited both by a desire to keep the play moving quickly and to keep the budget under control.

Sparse production values remained the norm until the Puritans closed the theatres in 1642. After the Restoration staging grew progressively more extravagant, reaching a pinnacle in the mid 19th century, when the focus on lavish spectacle came at the expense of all else, each production trying to outshine the last.

With the dawn of the 20th century the text became sacrosanct once more, and with it came some restraint in design, though as realism began to emerge over-arching scenic designs could still become the overriding component of a production.

It wasn't until the Guthrie/Mosiewich effort at the Stratford festival that Shakespeare design returned to its roots with a largely barren stage once again, with a raised second floor, an inner stage, entrances left and right and audiences on three sides.

Given the history many designers see Shakespeare as "carte blanche" and collaborate with directors to create often fanciful interpretations of the plays. While setting Romeo and Juliet in pre-colonial America or putting a post-apocalyptic Hamlet on the moon might be interesting motifs such designs often run roughshod over many of the more rudimentary concerns of a successful Shakespearean design.

Setting the Stage (Literally)

Not every designer has control over the architecture of their stage, but if you do you would be wise to discuss the size and shape of the playing area with your director. Carefully consider the benefits of a thrust

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