The Extravagant Universe of 'The Gilded Age' Season 2 Crafted by a Masterful Production Designer

The Big Picture

The Gilded Age Season 2 features lavish sets and elaborate costumes, with the Opera Wars taking center stage as Bertha Russell works her way up in high society.

Production designer Bob Shaw shares the difficulties of crafting larger and more extravagant sets for the show, such as the awe-inspiring Opera House.

Shaw emphasizes the importance of coordinating set design and costume design to avoid characters blending into the sets, though not on every single aspect. He also recognizes the paradox of constructing magnificent sets only to dismantle them once filming is complete.

From creator Julian Fellowes, Season 2 of The Gilded Age, an HBO series, delves into the Opera Wars. Bertha Russell, played by Carrie Coon, is determined to secure her position in high society. Meanwhile, Ada, portrayed by Cynthia Nixon, embarks on a new romantic journey, Marian, played by Louisa Jacobson, grapples with her feelings about love, and Agnes, portrayed by Christine Baranski, longs for things to stay the same.

The world of The Gilded Age is grand in every way, with breathtaking sets and intricate costumes. In an exclusive interview with Our website, production designer Bob Shaw discusses the importance of research, the challenge of elevating the production, the extravagant Opera House party hosted by Bertha, the freedom to push boundaries in design, the process of building the new Opera House, ensuring no detail is overlooked, creating vibrant kitchens, and the bittersweet emotions of dismantling the sets after production wraps up.

Our website: When you embarked on this show, where did you begin? As a writer, the blank screen can be quite daunting. Is there a similar challenge you face in your line of work? Do you have a set process for starting each project?

BOB SHAW: Our process always starts with research. We meet with the producers to determine the project's scope and what we need to create. For this show, it was a given that we had to build the backlot, which serves as the street where the characters live. We needed frequent access to it, and closing down an actual New York street was not an option. The streets in New York that fit our needs were a mix of period-appropriate buildings, with the addition of an apartment building in the middle of the block. So, we begin with what we are constructing. In this case, it was the backlot, with a focus on creating the desired dynamic between the Russell House and the Van Rhijn House. We knew we wouldn't find exactly what we needed, so we got started with designing it ourselves. I always anticipated someone telling us to rein it in, but that never happened. If anything, time was more of a constraint than budget - we had to consider what we could accomplish within the given timeframe. Surprisingly, the halt due to COVID actually extended our schedule and gave us enough extra time to complete certain elements, such as our backlot, just in time for the finish line.

Image via HBO

Is it more manageable with each passing season as you become more familiar with the project, or does it become more challenging due to its growth and expansion?

SHAW: The challenge is to raise the stakes and make it grander. In Season 1, we had two major party scenes. First, Bertha's disastrous at-home event, and then the finale, Glady's debutante ball. So, one of the first scripts we received this year was about Bertha hosting a reception to attract investors for the new Opera House. The description was somewhat similar to what we had previously done - "The house is beautifully decorated with flowers." We had already decorated the house with flowers for the at-home and the ball, so we needed to go further. The cue for me was in the script. In the story, the characters go to have dinner, but during that time, the entire opera set is placed in the front entry. Although it wasn't explicitly described as a whole set, I believed we needed to do something more than simple decoration. Mamie Fish's character says, "Well, this isn't possible." So, what would she not think was possible? She would assume they could put out some flowers, but she wouldn't expect a complete theatrical set with painted trees, houses, and even a wishing well, covering the carpet and stairs with all things green. This was an example of taking it up a notch.

Do you have to ensure that something like this could actually happen, or can you be a bit flexible?

SHAW: I can't say for certain if it would have happened, but the descriptions of these various balls imply that there was a constant desire to outdo each other. If someone had the best ball of the 1882 season, there was always someone striving to have an even better ball the following year. Alva Vanderbilt's famous ball was particularly extravagant, with outrageous costumes, like a woman wearing a taxidermy cat on her head. These parties would go on through the night, and it's difficult for us to match the incredible level they achieved.

Regarding each design, do you ever feel like you've added that final finishing touch, or do you continually make adjustments? Is tinkering with things a constant part of the process?

SHAW: The main houses have remained largely untouched from Season 1 to Season 2. While there are a few pieces of furniture that can be easily replaced or updated by Bertha, our set decorator, the changes vary depending on the specific set. One of the great advantages of working on this show is the freedom to go the extra mile in terms of set design. We often suggest adding certain elements, such as an additional layer of marble or special curtains, and the response has always been positive. The only limiting factor we face is time. Although we may have the resources to create elaborate drapes for the Russell House, they are extremely intricate and time-consuming to make. If we suddenly need them for another episode within a tight deadline, we may not have sufficient time to fully execute them. If one were to closely examine the drapes in the Russell House, they would notice their remarkable complexity.

Image via HBO

When we watch period series like this, we are captivated by the exquisite final product. With all the creativity involved in its creation, is there a particular aspect of the design that fills you with the most pride? Did you encounter any new challenges or exciting opportunities while working on the show?

SHAW: This season, the Opera House served as our greatest endeavor because we chose to film at the Academy of Music in Philadelphia. The storyline revolves around securing a box at the opera, and the Academy of Music is architecturally magnificent and aligns perfectly with the period. However, it does not actually have any boxes. Therefore, we had to construct and capture the boxes on stage, photographing them separately and carefully placing them between the first and second balconies at the Philadelphia Academy of Music. We believed it would work in theory, although we had never attempted anything like it before. I asked Douglas Purver, our VFX coordinator, "This should work, right?" We had confidence in its feasibility, but the seamless integration of this architecture into the Opera House was uncharted territory for us. It presented challenges, as we had to ensure that the columns on our balcony level matched up flawlessly with the existing columns within the Opera House. At one point, a modification was suggested due to a perceived need for additional space, yet I insisted against it as it would disrupt the alignment of the columns. This proved to be the most demanding aspect, and I had never encountered a task quite like it before.

I was astounded by the expansive shots, observing the seamless interaction and visibility among everyone. It was truly awe-inspiring to witness such a spectacle.

SHAW: The planning and deliberation for its execution involved numerous meetings and extensive discussions. Initially, we contemplated whether we should construct two or three structures. However, after careful consideration, we concluded that five structures were necessary. This choice allowed us to manipulate their shape, enabling us to create the illusion that the back was connected to the side. It proved to be quite a challenging endeavor.

When it comes to the sets, do you also have to consider the costumes, colors, and looks that people will be wearing to ensure they don't clash with the surroundings? Or is it impossible to do that with so many characters in certain scenes?

SHAW: It's not possible for every day. However, for scenes featuring big parties or specific themes, the costume designer, Kasia Walicka Maimone, and I will discuss the color palette in more detail. We generally agree that certain colors might not work well in established sets, such as the Van Rhijn House, where everything is very red, burgundy, and dark. But for the most part, people don't dress to match their surroundings. The costumes stand out on their own and are very vibrant. Many people question the authenticity of the bright colors for that time period, but they were indeed present. We give Kasia an idea of the major elements and upholstery in order to avoid dressing someone in the same fabric as the sofa, causing them to blend in. It's a matter of key coordination, rather than an overall coordination, which would be unmanageable.

Image courtesy of HBO

When contemplating how to take an already phenomenal experience to the next level, how can one amplify it? Is there a threshold for maximal grandiosity? Have you discovered that threshold yet?

SHAW: The limit has not been found yet, although multiple factors are involved. When we worked on the opera scenery at the Russell House, we had a similar timeframe as Bertha’s staff to set it up. Interestingly, the same entry of the Russell House had to be repurposed for a different scene later in the day, which did not require all the opera scenery. After they finished that scene and moved elsewhere, we had to discreetly remove all the scenery. This situation occurs frequently. While we have the potential to create grandiose sets, it becomes challenging if we cannot secure a two-week period where the Russell House is unoccupied. A production like this involves numerous moving parts that necessitate careful consideration.

I particularly enjoy the opportunity to explore the kitchens in these opulent homes. Being inside any of these houses can be overwhelming, so the kitchen seems like a more approachable space if one is not accustomed to such extraordinary wealth. What aspect of creating the kitchen aesthetics do you find most enjoyable? Do they seem to possess a distinct essence or vitality compared to the rest of the house?

SHAW: The Russells' kitchen set was initially designed in great detail, but upon consideration of the first season's requirements, it was decided to utilize the existing and well-preserved kitchen at the Elms in Newport. We only needed to make a few additions to it. On the other hand, the kitchen for the Van Rhijn House had to be imagined since there were no complete references or photographs available of kitchens in houses of that caliber during that time. To gain insight, I spoke to a friend who owned a brownstone from the 1970s that she had renovated as the third owner. Many original elements were still intact before the renovation, so I asked her about the whereabouts of the kitchen and where the cook would have slept. This information served the story's needs rather than historical accuracy. Interestingly, it was discovered that the cook would typically sleep downstairs since they were responsible for lighting the oven, which took time to warm up. This made it necessary for them to be in close proximity to the oven. I was always afraid of breaking something in any of these homes.

SHAW: There was no sense of relaxation for anyone. Although you could sit on the furniture, it was not intended for putting your feet up or lounging comfortably. This was especially the case in the world of the Russells. It is widely known that Bertha Russell was famously modeled after Alva Vanderbilt, who enforced strict rules on sitting etiquette. Consuelo, Alva's daughter, even complained about the requirement of sitting upright without allowing your back to touch the chair. As a result, her mother had a special contraption created with iron straps that encircled her neck and back, ensuring she maintained an upright posture. It was not simply a matter of teaching proper sitting posture, but rather rigorous training. The fact that someone had to live in such a manner, and that it was considered a breach of etiquette to lean back in your chair, is truly absurd. It's astonishing that in this country, people eagerly gravitated towards establishing their own hierarchy, rules, and even their own version of royalty. One would have assumed that we had moved beyond that mindset. Yet, individuals invented this new system because they craved it, much like their fascination with the Kardashians, for reasons unbeknownst to me.

Image via HBO

Does it ever sadden you to create these amazing designs and then have to let them go?

SHAW: I've come to terms with it a long time ago. I've been designing for over 45 years now. Someone once asked me, "If you could keep one item from the Season 2 sets, what would it be?" I used to collect small mementos during the first 10 years of my career, but I don't do that anymore. It's contradictory in the film industry. They claim to be environmentally friendly, saying, "This is a green production. We're cutting down on paper by sending digital call sheets instead of printing them." However, once the series is finished, we simply discard the Russell House. There's definitely a contradiction there. Despite the desire to be sustainable and eco-friendly, there are still many challenges we haven't overcome.

The Gilded Age airs on Sunday nights on HBO and is available to stream at Max.