The inspiration for the set design for The Vortex is the work of Piet Mondrian (1872-1944). Even if you don’t know the name, his works may well be familiar to you – just think vertical and horizontal black lines with the occasional block of primary colour (red, yellow or blue). This movement in the art world became known as neo-plasticism and Mondrian was its chief exponent. In his work he sought to reveal the timeless, spiritual order underlying the endlessly changing appearance of the world.
This, it seems to me, is an ideal setting for the world of Noel Coward’s play: the central characters (Nicky and Florence) have become obsessed with the fashions of the ever changing world and its new thrills, while losing sight of the things that matter. It’s only when they reconnect to each other and throw out the distractions of sex and drugs that they can hope to have a constructive relationship and lead meaningful lives. Home is where the heart is, and this is what Florence and Nicky have lost sight of.
Mondrian, it can be argued, was at his prime in the 1920s and his work was influencing designers and architects (especially those associated with Bauhaus) at this time. It is entirely possible, therefore, that rooms such as I’ve designed for the play might have existed. However, I’ve been more concerned to create an un-naturalistic canvas upon which the action of the play can unfold. As ever, I’m concerned that the audience should focus on the actors and what they have to communicate through words, actions and reactions.
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