Until eight or nine years ago, Londoner Richard Klesnicks, a design technology teacher at Spice Valley Middle School, had never seen a live show in his life, which is pretty incredible since his home city is regarded as one of the theatre capitals of the world. Then came the phone call that would ultimately earn him a reputation as one of the best and most sought-after set designers in Bermuda. In fact, what began as a one-off favour has now become an all-consuming hobby, the passion for which leaves him very little time to himself - and he could not be happier.

"I got a call from a friend who asked if I would co-design and build the set for 'Evita'," Mr. Klesnicks recalls. "Despite having no experience and being absolutely terrified I went along and what I saw backstage was absolutely magical to me: all the fly bars and ropes and things. It was also very daunting, but there were a lot of very good people, like Bruce Hallett, who gave me guidance. Building that first set was quite successful, and after that I was absolutely hooked."

So much so, in fact, that today he looks back on a host of productions with which he has been associated for various theatre companies, including the Bermuda Musical & Dramatic Society (BMDS), Jabulani, and the Gilbert & Sullivan Society (G&S). To give some idea of how much he is valued, the tally of BMDS productions with which he has assisted exceeds 36, while work on the forthcoming production of 'Guys and Dolls' is his seventh for G&S.

So involved does Mr. Klesnicks become that he virtually puts his personal life on hold from the time a show is put into production until its run is ended. At the end of the school day, he rushes home for a short while before moving on to wherever the set is being constructed. Initially at least, such venues can vary from the very cramped to the very spacious, and where climatic conditions range from stifling to draughty and/or very cold. None of which matter to Mr. Klesnicks because he is so dedicated to his hobby that, once he gets stuck into a project, he will work well into the night, and until dawn if necessary, to make progress. He has even been known to sleep on the floor for a few hours before carrying on.

"It takes a certain amount of dedication, but the show has to go on, and it has to be the best that you can produce," he says. "It's like a drug. While you're involved you think, 'I'm not doing this again', then when the show is over it's a real let-down, and after a couple of days you're looking for the next one."

Of course, no matter how much time, talent, forward planning, and energy is involved, things can and do go wrong - and that is part of the magic which stirs the Klesnicks creative juices for, by his own admission, he is a man who loves a challenge. There is, he reasons, a solution for every problem; all he needs is to figure what it is.

While set design and engineering are his official strengths, the design technology teacher can, and does, turn his hand to anything. His resume includes set construction and painting, lighting, and floor artwork, and he has also been in charge of set construction and crews. In one production he even used a sewing machine to make and stuff flamingoes! And yes, more than once, he has briefly appeared on stage.

"I was in 'A Funny Thing Happened on the Way to the Forum', the executioner in 'The Assassins', and during one Christmas show the cast called me out and wouldn't let me go, so I had to dance with them! Evil people, actors," he says.

So just what does go into creating a set? Anything and everything, it seems. In addition to research, Mr. Klesnicks makes scene drawings of what is required - a process that takes into consideration a host of factors, including such details as the amount of space scenery will occupy on and off stage and the logistics of moving it; how pieces will be constructed to fit together and move easily; how the cast will interact with stored and visible scenery, whether his concept ties in with what the director requires, and much, much more.

"It is a months-long project that involves a great deal of collaboration between the set designer, set construction crew, director and lighting people," he says. "In the case of the Gilbert & Sullivan Society production of 'Guys and Dolls', producer Marjorie Stanton holds a meeting with all the heads of departments and gets them to (coordinate their needs). Then she calls us back for a meeting to make sure we all do what we are supposed to do."

As with any construction project, Murphy's law invariably applies.

"It is very, very stressful. Sometimes it is a love-hate relationship," Mr. Klesnicks says. "Shows are very, very demanding of your time and mental capacity. A lot of people become stressed as the build-up to the show progresses and there are deadlines and expectations to meet; then all of a sudden the show technicians arrive; then there is the dress rehearsal and first night, and everybody is happy."

A modest man who speaks matter-of-factly about his own talent and reputation, Mr. Klesnicks is also at pains to make it clear that he is but one cog in the overall process of a stage production, and he is full of admiration for his fellow volunteers.

"I adore the local people who get involved in shows," he says. "Just as people seem to appreciate what I do, I appreciate what they do. They spend eight hours' minimum at work each day and afterwards devote hours and hours to a production. The cast always gets appreciated on stage, and deservedly so, but there are just as many people back stage, many of whom have been involved in the show for a whole year before it opens, and who rarely get any recognition, except by the cast. Audiences just never know."

As for his involvement in 'Guys and Dolls', Mr. Klesnicks says that he is also delighted to be working with visiting professionals, director/choreographer Jenny Arnold and sound designer Colin Pink, both of whom are eminent in the British theatre world.

Asked if he would like to trade his current profession for that of a set designer, Mr. Klesnicks says: "It may be something I would choose to do in the future." For now, however, he is perfectly happy with the status quo.

'Guys and Dolls' opens at City Hall theatre on October 10 and continues through October 19, with the exception of October 13. Tickets ($35) are available at City Hall box office from 10 a.m. to 2 p.m., and also on performance nights from 7 p.m. For credit card purchases 292-2313 during box office hours.

Opening night tickets include a complementary post-performance reception in the lobby of City Hall courtesy of Bacardi Ltd.