The biggest challenge for a set designer is to develop a stage plan that meets the needs of the production while matching the ideas of the director and incorporating his or her own interpretation of the production.

Stars Over Veishea set designer Erin Baal has incorporated all of these elements, making set design look easy — almost too easy. Hours of research, development and design tell another story.

“I haven’t had too much trouble trying to please [Marge Bennett Folger, SOV director],” Baal, senior in performing arts, said. “I had to take the story and draft ideas and present them to her. I was happily surprised that we were thinking the same ideas. Sometimes the most difficult thing is trying to get on the same page as the director.

“My biggest challenge is getting used to the new space,” she continued. “I’m used to working in Fisher Theater, and the play is in Stephens. It’s been a challenge to try to fill space. There are a lot of drawbacks and options. The most difficult thing is not pushing things too far back on the stage.”

Since the final decision to produce “The Music Man” in January, Baal and set design assistant Michael Vogt have been researching time periods, costumes and material costs in order to stay within the set budget.

Aside from research, Baal’s duties as set designer include developing different sets needed for “The Music Man,” coordinating set construction and incorporating the director’s interpretation while adding her own artistic ideas.

“I have to develop the basic needs of the play,” Baal said. “So if it calls for a bank, I have to design a bank. I also have to take into account the directors’ concept, how the director would like things to feel.

Ball said she also has to find out how it can be different than any other “Music Man” production without going off-the-wall.

“This year we are going to concentrate on the richness of the set, so I’ve been researching a lot of Grant Wood, looking into colors and design,” she said. “You have to bring a certain feeling to the audience.”

With only a couple of weeks left before the set needs to be complete, Baal and the design crew will be spending 40 to 60 hours a week constructing, painting and adding the details to the sets.

“I’ll be spending most of my time painting,” Baal laughed. “I’ll be spending all of my time painting.”

Despite balancing the countless hours of research and work with classes, Baal wouldn’t trade her opportunity to work on this year’s SOV for anything.

“The experience has been great for the department,” Baal said. “It’s allowed us to get used to the business end of design, and we’re not always used to working with that aspect. It’s been full of responsibility, excitement and big space issues.”