"The concept for the set of Banana Shpeel was inspired by the aesthetics of Vaudeville, the cabarets of the 1930s and German Expressionist cinema. We wanted to achieve a distinctive look that would blend the old with the new. We explored the dramatic potential of color through the play of light and shadow mixed with bright primary colors, while showing, through shapes, images and cutouts, the playful side of director David Shiner’s aesthetic." - Patricia Ruel

Designer Patricia Ruel also explored the dramatic possibilities of color, and created shadows and light through the use of bold primary colors. Given the historic nature of the heritage theatres in which the show was to be presented, it was hard to suspend much of the lighting equipment from the ceiling, and the backstage area offered very little space for storing scenery and props. To escape these constraints, the color changes are made with a huge, thin, lightbox screen positioned at the back of the stage. To create different levels on the stage floor, Patricia Ruel designed a large moveable modular unit with a high-gloss surface to reflect the colors of the costumes and the screen. To maximize space in the wings without restricting the size of the props Patricia opted for a two-dimensional approach to certain elements. Flat, sometimes folding, props reinforce the impression of a world of illusion and visual trickery.

• To evoke the world of illusion in which Schmelky evolves, and at the same time create an atmosphere that is both surreal and fun, many of the set elements were made as flats. The use of photocopy textures in a modern interpretation of black and white photography adds to this environment of visual trickery.
  
  
• Shapes such as the moon and the heart, and cutouts of some of the set elements and props, illustrate the playful side of director David Shiner’s aesthetic.
  
  
• In the evil producer Schmelky’s scene as a magician surrounded by paper tigers, revue dancers and transvestites, the magic boxes on both sides of the stage are inspired by the glitzy carnivals of yesteryear.
  
  
• Light plays an important part in the set elements: the enormous stage curtain is pierced with tiny holes that give the impression of a starry sky in a pattern that evokes the 1930s.
  
  
• For the set to integrate easily from one theatre to the next, the scenery is designed to enter and exit on the flies typically found in traditional theatres.
  
  
• The musicians are revealed from time to time as silhouettes against a stormy sky projected on the lightbox. Their art nouveau style bandstand is made of wrought iron.