[0:07] - Waitress at its core, [0:08] I feel like is about finding your own self-confidence [0:13] to do what you want in your life and what makes you happy [0:18] and really rooted in female friendship as well. [0:21] I'm Sarah Bahr. I am the scenic designer for Waitress. [0:24] Waitress is a musical that takes place in a diner. [0:28] I started thinking about [0:30] what this diner actually looked like, where it is, [0:35] and we really established that it's rural southern Indiana [0:38] and I wanted to bring in some Minnesota flair. [0:42] So I was thinking of some [0:45] of my favorite woman owned diners [0:48] and restaurants in Minnesota. [0:50] So I thought of Betty's Pies up in Two Harbors, [0:53] but also Keys cafe. [0:55] And you can see some of the influences of [0:58] that architecture in my design. [1:01] I wanted it to feel really quintessential diner, [1:04] but without a lot of like shine and newness. [1:08] It had to feel lived in kinda like a mom [1:10] and pop place that you just know you're gonna get a good [1:13] plate of food, but they don't really take care [1:15] of like the ambiance as much. [1:18] And we have a lot of different scenes [1:20] that take place outside of the diner. [1:21] So there needed to be some flexibility with the set [1:24] and some creativity of how we move smoothly in [1:28] and out of the other locations. [1:30] I start to establish a color palette [1:33] and texture palette with the research. [1:35] And so it was a lot of cool tones [1:37] and getting some rhythm into the world. [1:41] So that checkered floor and arch windows [1:43] and the brick really brought that kind of energy in to it, [1:47] that mirrors the music. Doing the research [1:50] and then starting to kind of plot that into the ground plan. [1:53] I play in the model a lot, three dimensionally [1:56] with little model pieces, [1:57] this is quarter inch scale, to really think about [1:59] how all the pieces move. [2:01] I think really three dimensionally to help my director [2:04] and team understand the world [2:06] and the actors to really understand three dimensionally. [2:09] But it also helps our technical director and painter [2:12] and carpenters as they build the set to really kind [2:15] of envision what it looks like. [2:16] But then they also use my drafting [2:18] and paint elevations to get all the details [2:21] of the measurements and color and [2:23] and texture details so they know how [2:26] to translate it on stage. [2:27] Without them, this would not happen. [2:29] So I'm super grateful for an amazing team [2:32] of people building the set. [2:35] So we have two diner signs [2:37] because when we start the show, it's owned by Joe. [2:41] It's Joe's Diner, it's aged, it's dated [2:44] and the sign lights up but not so well. [2:46] And then when Jenna owns the diner at the end [2:50] and names it Lulu's Pies [2:51] after her daughter, it's much more colorful and vibrant. [2:55] It lights up in a really cool back l…