Centenary of Federation Play Kit
Staging the Play
Ideas for Costume and Set Design
HistorySmiths Pty Ltd
A Centenary of Federation History and Education Project
1999
2
An ICCUP in AustrAlien History
Staging the Play: Ideas for Costume and Set Design
When choosing to give a performance of An ICCUP in AustrAlien History teachers must
also decide how they wish to produce the play. The setting of Scenes 1 and 6, in an
intergalactic courtroom on an alien planet, lends itself to imaginative interpretation.
Indeed there is no limit to the variety of ways this script can be ‘performed’.
Learning outcomes
Learning outcomes in SOSE, English Language and Drama can be achieved whether or
not the play is performed to an audience. A play reading, workshop, or a performance
using a minimum of props, select and symbolic items of costume, and without any
purpose-built scenery, can be enjoyable (and relatively stress-free).
An elaborate production, using costumes, scenery, sound and lighting, can mean
opportunities for achieving additional learning outcomes in all manner of Creative Arts
subjects.
Art/Craft  designing and making costumes
 designing and making props
 designing and making scenery
Dance
 choreographing and performing
Drama
 assuming roles
 interpreting and performing the script
 designing lighting effects
Media
 creating a soundtrack (audio tape)
 creating visual effects (e.g. video tape, slides)
 pre-recording parts of the play
 video recording a performance
Music
 creating incidental music
 performing musical numbers
Pros and cons
Students I have directed in plays have responded well to the challenges of preparing and
performing a large-scale production to an audience of family and peers. A sense of
occasion can breed excitement and enthusiasm (as well as nervousness) which prompt
students to undertake willingly the necessary hard work of learning roles and extensive
rehearsal. Such productions, though, invariably consume large quantities of time and
energy. Depending on the venue and technical effects, productions can also be expensive.
The help of skilled and willing parents may prove an invaluable resource in mounting
productions. For information about rehearsal tips, running time and performance alternatives, see
Teachers’ Manual.
3
Costume design
Costume #1 Chorus
One of the roles of the Chorus is to provide narration that can be used to cover scene
changes. If desired the Chorus can appear on stage, instead of being heard only as voices.
A basic costume design in plain white can be extremely striking, particularly if theatre
lights fitted with coloured and patterned gels are to be used. The Chorus can be
‘coloured’ so as to seem part of the ocean (blue-green) or sky (blue); and a deep purple
gel patterned with cut-out star shapes can set the Chorus in outer space!
Chorus costume:
 Mask
 Shift
Mask Activity Sheet
Follow the steps below to make this Humanoid Mask.
Measure the circumference of your head using a strip of paper as a
headband. Use sticky tape to hold the headband. Inflate a balloon so that
the headband fits snugly around its middle.
Using torn up strips of white paper* and glue, begin to cover the
balloon. Shape the mask as shown. You will need time for each
layer of papier mache to dry.
*Alternatively you can use newspaper and paint the mask white later.
The front of the mask should reach the tip of your nose (still
allowing you to breath, talk and sing freely!)
The back of the mask should touch the back of
your head. Now you can pop the balloon. Attach
ties to hold the mask on.
Cut out two large, oval holes that allow you to see freely. Make the eyes
by covering the holes with shiny black material, attached to the inside of
the mask with PVC glue. You will be able to see through the tiniest hole.
Staple and glue strips of white paper to the back of the mask to make
hair. Make the ‘hair’ as thick as possible by attaching many layers of
paper strips.
4
Chorus Shift
Join two rectangular pieces of white material (right sides together) at
the shoulder seam, leaving a gap large enough for your head to get
through. Join the pieces of material at the side seams, leaving plenty of
room for arms to fit through and a slit up both sides to allow for easy
movement. Wear long, white gloves, white stockings or leggings and white
shoes.
To add sleeves to the shift, join two rectangular pieces of white material
(right sides together) at the shoulder seam, leaving a gap large enough
for your head to get through. Cut two large squares of material. Attach
one to each side of the shift. Fit the centre of the sleeve to the shoulder
seam. Beginning with the ‘cuff’, join the edges of the sleeve and the side
seams, leaving plenty of room for arms to fit through and a slit up both
sides to allow for easy movement.
Wear white stockings or leggings and white shoes.
The Chorus costume and mask is designed to fit over the top of a costume for another
character to allow for quick costume changes. In An ICCUP in AustrAlien History
members of the Chorus can also take minor parts in Scene 3 (Director, Backup Singers
and Dancers), Scene 4 (Warder) and Scene 6 (see below).
e.g. Actors playing the Dancers can be dressed and made up for those roles before
donning the Chorus mask and shift. When the Chorus comes off stage in Scene 2,
Dancers can simply remove the masks and shifts, ready for Scene 3.
Optional: Chorus in Scene 6
In order to add visual interest to Scene 6 the Chorus could participate as mime artists
enacting parts of the evidence related by the witnesses.
 e.g. Kylie Minogue tells of Cyclone Tracy
Dressed in black full body suits, Chorus members act like the winds of a cyclone in slow
motion, pulling apart props such as model buildings, cars and trees etc.
 e.g. Kay Cottee tells of surf lifesavers
Dressed in neck-to-knee bathing costumes, three Chorus members stand looking out to
sea, spot someone in danger and then perform a rescue!
 e.g. Douglas Mawson tells of penicillin
Dressed in a white lab coat, Howard Florey stands at a bench conducting an experiment
using various pieces of scientific experiment.
Other uses for Chorus costumes
The simple patterns for the Chorus mask and shift can form the bases of costumes for
other characters. For example, the Judges from alien planets can have basic masks that
are decorated to make each character distinctive.
5
The Judges’ Costumes
Let your imagination run wild in creating intergalactic costumes for the judges from alien
planets. Here are three suggestions to start you thinking:
Costume #2
Judge Maugro Disnasterly (Judge 3)
This character is impatient and unsympathetic, forever
hurrying the court proceedings along. A severe-looking
costume is therefore required. Try shiny fabrics (lamé, vinyl
or wet-look, thick polyester) in bold colours (black, red and
silver) with metallic accessories (chunky jewellery).
Costume #3
Judge Augerly Antabergruntly Forge (Judge 4)
This character bears a striking resemblance to Felix as we first see him in Scene 2,
wearing goggles, snorkel and flippers. The difference is that Judge 4 is an alien life
form whose body is comprised of webbed feet (that look remarkably like flippers),
bulbous eyes (that resemble goggles) and a long, asymmetrical nose tube (like a
snorkel).
Costume #4
Judge Histeremion Natur Ally Gorgeous (Judge 6)
This character is wistful and dreamy with a penchant for swamps. Try joining up
swimming pool toys such as water rings and water wings to shape this alien life
form.* Dress in layers of flowing fabrics in pastel shades.
*A pool pony, for example, could make this a two-headed judge.
Costume #5
Smithy
Brown leather flying jacket with lambs-wool lining and lapels, brown trousers and boots.
Brown leather flying cap with chin strap, flying goggles and flying scarf.
Costume #6
Ginger
Shorts and t-shirt.
Costume #7
Felix
Long shorts, long-sleeved t-shirt, swimming goggles, snorkel, flippers. Felix should
remove goggles, snorkel and flippers after Scene 2.
Costume #8
Backup Dancers and Singers (Chorus), and Kylie
Lycra leggings, singlet top, leg warmers and jazz shoes.
6
Costume #9
Director
Over-sized, orange shirt worn over singlet top, lycra leggings, leg warmers and jazz
shoes.
Costume #10
Warder
Grey uniform shirt and trousers, peaked cap, black shoes and belt. A whistle and a large
key ring with dozens of keys are worn on the belt.
Costume #11
Mum Shirl
Neat casual blouse, skirt and jacket.
Costume #12
Kay Cottee
Blue and white striped t-shirt, sailor’s navy blue peaked cap, triangular scarf, white cargo
pants and boat shoes.
Costume #13
Gustav Weindorfer
A farmer of the early twentieth century. He wears a white shirt, light brown trousers with
button-up braces, a dark waistcoat, black, knee-length boots (or Blundstones) and an
Akubra-style hat.
Costume #14
‘Weary’ Dunlop
Light khaki, army uniform and slouch hat with a white doctor’s coat.
Costume #15
Douglas Mawson
Thick, lined leather trousers and coat with fur-lined hood, snow boots and thick mittens.
7
Set design
Set #1
Scenes 1 and 6: The Intergalactic Court of Appeal
A dark chamber. Large, high-backed chairs are arranged behind a semi-circular bench
bearing the Intergalactic Court of Appeal (ICA) logo. Lights flash intermittently along
the edges of the furniture. Aluminium foil gives a space-age flavour.
If pre-recorded video footage is to be used to illustrate the Witness stories (or ‘evidence’)
a large, white curtain could be used as a projection screen.
Set #2
Scene 2: Australian beach
In front of a plain, white curtain, coloured blue-green with lighting. A large sheet of
yellow material for sand. Green crepe paper can be cut into strips to serve as sea-weed.
The Chorus can provide a living ocean by crouching in lines and performing little
Mexican waves, covered with filmy, blue-green material if desired.
Scene 3: Music-video recording studio
In front of a plain, white curtain, coloured blue with lighting. A blue screen alone will
suffice as backdrop for this rehearsal scene.
Scene 4: A prison in New South Wales
In front of a plain, white curtain, lit through a fine, cyclone-wire-patterned gel. Optional
extra: a small, locked office with a barred window through which the Warder speaks to
Mum Shirl.
Scene 5: Antarctica
In front of a plain, white curtain.