Isabelle Goodman: Seeing something that only existed in my head in real life is a pretty incredible thing
Above is a scene from WHSTE’s production of “Footloose” last spring. Junior Isabelle Goodman is a set designer for WHSTE’s productions. “My favorite part of designing sets is the feeling of creating something in my mind and having it be carried out to completion on stage,” Goodman said.
When most people think of artwork, they probably picture a drawing or painting on paper; however, for junior Isabelle Goodman, her canvas is much larger. As a set and lighting designer for WHSTE’s plays and musicals, Goodman’s canvas is the stage.
Goodman became involved with set design as a freshman when her friends Ariella and Clare suggested she help paint sets for the production of “Beauty and the Beast.”
“They knew I love painting, and they told me I would get community service hours for doing it,” Goodman said, “That part wasn’t true, but I ended up being the charge scenic artist for ‘On The Razzle’ and designing the set for ‘Footloose.’”
According to Goodman, designing sets is a collaborative process. She primarily works with the director and other designers.
“It is a lot of collaboration, and it would be impossible to design a good set without them,” Goodman said. “I need to know a certain amount of their designs and ideas so that I can design a set that effectively plays off the other elements of the production.”
In addition, designing a set is a long process that does not end until shortly before the show opens.
“I start as soon as I know what the show is, and I keep designing until we take down the set,” Goodman said. “Even after the sets are finished I always have ideas of how to change or add to scenic elements, and I have been known to be adding details to set pieces hours before the show opens.”
She acknowledges challenges involved with working with people who have different ideas.
“One of the challenges is working with different designers who have different visions and aesthetics to create a cohesive world,” Goodman said.
Nevertheless, she appreciates the opportunity to work with others.
“It’s actually impossible to design a set without the expertise and input of the builders and painters who I work with, and my designs would never even come to fruition without them,” Goodman said. “Every person’s contribution to a show is significant and impactful, and we would never be able to produce a show without each and every person.”
For her, the experience of designing sets is very rewarding.
“Seeing something that only existed in my head in real life is a pretty incredible thing,” Goodman said.
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