An Oldie But a Goody!

Using Theatrical Arts in Model Railroading

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fter many years in model railroading, I was introduced to the inner workings of live theater.  Live theater is very much like model railroading.  It takes a story with situations and people in the real, infinite, outside world, and compresses it in time and space to fit on a small, finite stage.  It is also limited by restricted time, money, effort, and sometimes, knowledge.  Live theater is presented in acts and scenes, using sets, props, costumes, lighting and sound to set the stage.  But, it is the actors that bring the story to life.

And so it is with our model railroads, we need a progression of acts and scenes filled with scenery sets, props, costumes and actors, and our actors are the trains.

The various theater designers begin by reading the script to find out everything about the play, its subject, local, era, season and look for references to authenticate their subject.  Then, and only then, do they sketch their designs, add color and texture, and present them to the director.  Rehearsals begin, materials are located, and work begins in earnest at various locations around the theater.  Not everything goes well and changes may have to be made.  Finally there is the dress rehearsal and still more changes are made.  Then comes opening night and the public will speak.  Is it believable or not?

Comparing  again to our model railroads, we see track plans coming together, scenery and backgrounds being constructed, railroad prop details to fill out the view, rolling stock being cleaned, painted and finally checked out on the installed track. 

Many in the model railroading hobby advocate that much of the above should be applied to our hobby, find out all you can about the subject railroad, it’s local, era and season, and then find authentic references.  At this point I disagree!  The problem for most of us is, “We don’t have a script!”  Without a script we wander about like a kid in a candy store.  Everything looks so good.  Remember our dilemma when told we could have only one?  What if we choose the wrong one and we don’t like it?  However, what if we had been able to taste several of the candies before making our decision?  We might get a taste of chocolate, a lemon drop, an orange slice and a bit of peanut brittle.  We would still have a decision to make, but, it would be an informed decision.

A script takes a story based on facts, fiction, tragedy or comedy and adds, subtracts and arranges the elements to fit a stage.  Most of us have some sort of story in mind, often based on facts, a prototype with local and era.  Other times we use a fictional situation and build a railroad to service that need.  Some have used fiction and comedy together to produce enjoyable and entertaining layouts.

But, writing a script without knowing the basics of what a theater performance  entails, the sound and lighting, the costumes, props and sets, would likely give us a play that won’t work.

Many of us would like to start out with a full-blown room full of trains running through realistic scenery the first month in the hobby.  But, that is like giving the closing, last, performance without going through the important steps to get there.  I believe there should be a succession of developing layouts, tasting the variety of skills and interests model railroading provides.  The successive layouts would display the new skills acquired from earlier efforts and the new interests that have developed.  With this knowledge in hand we can now develop a story and write a script that will work. 

I believe that model railroading should be a growing, progressing hobby that we can enjoy over our lifetime.  Take the bull by the horns and build a small track plan, run some trains, build a few kits and paint some scenery.  Sure, much of the original equipment may be cheap and unsuitable for long-range goals, but it can be replaced with quality once experience dictates.  Why buy an expensive steam locomotive and then decide you want to use diesels?    Sometimes little of the earlier efforts can be included in the newer upgrade so we must encourage people to not be afraid to demolish existing work.

How many people have passed up our hobby when told about all the skills and work it would take to have a model railroad.  If new people to the hobby were introduced to growing a simple layout, adding and removing details as skills develop, they might be less hesitant about getting started and maybe later, changing their layout to suit changing interests and needs.

Our model railroads are much the same as presenting a play.  We can’t model a complete railroad and therefore compromises have to be made.  We compress, delete, add and modify until it looks like a railroad.  At best we can SIMULATE how a prototype railroad would run.  These compromises and simulations I like to call “caricature”.  We present a staged view that is convincing because we emphasize or exaggerate details that identify the scene as a railroad and eliminate unnecessary details.

The difference is the same as the difference between a photo and a painting.  We have all seen photos where a telephone pole rises out of some-ones head.  The artist would not have included the pole at all.  It is not important, it does not add to the scene, and is not necessary.  Now I know many will disagree, saying I advocate tinplate vs. scale.  No, not at all.  I like detailed engines and layouts.  Even Thomas the Tank Engine is real to the kids and adults who watch it on TV.  To the visiting public, if it looks like a railroad, and runs like a railroad, it is a railroad.

When we chase trains across the country, most of the time we see the trains from one spot at a time.  It arrives, we see, and it leaves.  We then hop in the car and speed to the next viewing spot.  In reality we see a series of scenes that could be duplicated in a series of dioramas.  Only if you think of yourself as the engineer do you follow the train through its entire run.

This could be simulated by having a round viewing space where the train leaves the depot, passes under a bridge and disappears.   It could continue around the room on hidden track and only then come into the second scene.  This provides a realistic illusion of time and distance.  By using lighting only when the train is in that vicinity it highlights the travel of the train and alerts the visitor to the next important scene.  Using a double track main you could have two trains, running in two directions, in more or less automatic mode, with detection circuits turning the lights up or down. 

A long time ago a model railroad magazine had a series of articles about a model railroad that grows.  The object was to start with something simple, and, in several stages, grow the layout into a more complex, challenging and fulfilling layout to operate.  We all realize that real railroads don’t go around in circles.  They were formed to perform a function of moving goods from one place to another.  We can simulate that by operating a point to point layout, but that denies one thing many of us want, continuous running.  An eight foot shelf layout will never allow you to see your passenger trains up to speed, however, if that is all you have, you may be able to simulate the train coming into the depot, boarding and un-boarding passengers and pulling out.

I have designed, but not yet built, a show layout allowing passenger and freight traffic in a space of 3 x 10 feet.  It utilizes two, hidden, 3 foot diameter train turntables, one on each end of a 4 foot stage with depot and some facilities.  The turntables each have three tracks that will stage and turn short trains.  This allows east/west traffic.  A train enters the scene, slowly passes the depot, and departs.  Or it may stop momentarily and then proceed off stage.  All the visitor sees is the central 4 foot stage with all else hidden. Using a variety of equipment I will be able to simulate a regular day at this particular station. 

My main gripe with modular layouts is the long, almost endless stretch of straight track.  It reminds me of the causeway through the Great Salt Lake, straight and level.  This could be changed by having the track pass through the scenic background and reappear somewhere else.  FreeMo modules add directional change but little else for elevation.  A variation of module design utilizes a center scenic divider which would allow the train to immediately go from scene to scene, but not be obvious to the viewer as they only see one side.  These devices are often used by foreign modelers to hide fiddle yards.  I recently read a picture article about a layout that had mountains and valleys.  The track was on all one level, but by going around scenery, had the illusion of elevation change.

One thing that is always happening is change.  We find we like one thing and not another.  Some like to build models, some like to run trains, some like operation.  I recently got interested in ‘card modeling.’  I built a grain elevator from a cereal box.  The box was free and I “only” spent about $20.00 on tools, paint and brushes.  Later I thought about building a log cabin.  I bought 4 sticks of 1/8 inch dowel for about $1.30 and began the building.  I decided to add ground cover, then an outhouse, a well and finally a wood pile with a chopping block and ax.  I spent about 20 enjoyable hours working out all the details on an HO scale diorama measuring 4-1/2” x 9”.  It impresses people, and only after closer inspection do they realize the logs are not notched, and only every other log extends beyond the mating wall, but it looks like a log cabin to passing visitors.  Which brings us to the conclusion, it doesn’t have to be real, but, it has to be believable.

In the end we must decide who we are trying to impress; the visiting public, ourselves, other modelers or contest judges.  As every champion knows, there is always someone out there who will be better than they are.  Pick a level you are comfortable with and go with it.  Do what makes you happy, you can always change your mind.

Think about how a museum displays a work of art.  Accentuate the positive, eliminate the negative.  The space does not distract from the object displayed.  The surroundings are subdued and the object is highlighted.  If you have a master model with the ultimate of detail you display it on a sparse track so people see the model details and are not distracted with a beautiful diorama.

Armchair   from March 29, 2011