THE 50´S MUSICAL
A musical at Skansen in Stockholm, playing throughout the summer, took the audience back to Sweden in the 1950s when the washing machine first arrived, transforming dynamics in Swedish households, particularly for women.
THE MISSION
Create scenography for the outdoor musical "Back to Laundry Time".
MISSION:
LOCATION:
Skansen in Stockholm is an open-air museum and zoo, showcasing Swedish culture, history, and wildlife. It features historic buildings, traditional crafts, and exhibits on Swedish life from different eras.
CONTEXT/PRECONDITIONS:
The scenography had to be period-appropriate.
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It needed to complement the costumes, matching without overshadowing them.
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It couldn’t take up too much space on stage.
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The washing machine had to be the focal point.
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The scenography should be visible from a distance and draw in the audience.
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It had to be easy to move and store before and after each performance.
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Props on stage could serve multiple functions (e.g., the step stool could also be used during dance and song).
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Everything needed to fit behind the scenes at night.
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We wanted to widen the stage and make it more visible from afar, using clotheslines along the sides of the stage.
BUDGET:
Minimal
RETAILERS:
Flee markets, Market Place, Blocket, paint, Tradera, Gifts
THE RESULT
The scenography was designed to instantly transport the audience back to the 1950s, and we chose to mix American interior design with Scandinavian style. American design alone would have been too "bubblegummy" and not quite accurate, while only Swedish design could have been a bit dull to watch with its mostly brown and muted colors. We wanted the scene to be visually appealing, or "eye candy," for both adults and children, while also conveying that it wasn’t all that glamorous to be a housewife in a well-organized, clean home.
Home life and household chores were at the center, and we found a 1953 washing machine, hung typical laundry from the time on clotheslines, and included an old vacuum cleaner, rug beater, and other items.
We also wanted to avoid typical "50s" props (the things that always represent the era), and steer clear of kitschy scenography. Instead, we aimed to create recognition—certain items should evoke memories of visiting your grandmother’s house, like a black and white linoleum rug, a step stool, a table grill, a 1953 magazine, a pipe, a phone, and more.
The production and scenography were greatly appreciated.
Mood boards
