Having not read that play, I can only offer some general advice.

Do you NEED all those scene changes? If you can get by with less, you'll be better off.  If you do need all of them, make them simple. you don't have to have a complete room to get the idea acrooss that you are in a living room or outside in a garden. Some times just a few pieces will do the trick. Great for those short scenes.

we recently did "Leader of the Pack" Pretty much for every song we had a scene change. a few benches and a metal archway, some creative lighting and we were in the chapel, or a step stool, a chair, and a full length mirror and that was the bedroom. Sometimes less is more.

Just a few ideas,hope that helps abit.

Good luck!

 

I was the assistant director for this show 2 years ago - here's what we did.

Looking at the stage from a bird's eye view:

12 o'clock - Mama's kitchen on an elevated flat. Remove kitchen table/chairs - wheel in partial wall with window - it becomes the outside scene where Raybud and Junior sit and drink and talk in Act 2.

9 o clock - Marguerite's Living room - on a slightly raised platform

3 o'clock - slightly raised platform - Royce's bedroom - use a fold up cot to get it out of there quick

Main stage area in the middle  serves as living room, church, radio station

The elevated flat areas have minimal set changes if at all - so the major set changes occur in the central portion of the stage. The elevated areas only have to hold 1-3 actors (Mama's kitchen has 3 at once) - so they can be small, leaving your main stage area in the middle for the scenes with the entire cast.

I was in a production of Kaufman & Hart's "Once In a
Lifetime" which involved a large cast and numerous
scene changes/locations. However, the sets were
very minimal.

It was a sprawling tale about the early days of
Hollywood and the onset of sound (think "Singin' in
the Rain" without the music).

Because there were upwards of twenty actors in the
cast, the director decided to facilitate the scene
changes by making them more "cinematic" and
using many of the cast as "extras."

For example: the play starts in a one-room
apartment and moves to a railroad car. As the
music came up, actors dressed as Pullman
Redcaps moved off the furniture and brought on the
train benches. Another dressed as a Conductor
simply walked across the stage, checking his pocket
watch and motioning two more extras dressed as
passengers. A Sailor kissed his girlfriend goodbye,
etc.

From the train to the Grand Hotel: The RedCaps
moved off the benches as a BellHop carried some
luggage across the stage followed by the Same Two
Passengers we saw earlier.   A Hotel Maid walked
across with a mop.   A Maitre D' and Cigarette Girl
crossed the stage in animated conversation, etc, etc.

Not only did these vignettes cover the scene
changes, but they helped move the play along and
solidified in the audience's mind the locations before
a stick of furniture was set.

The costumes were all drawn from stock and the
actors playing the extra parts all found their own bits
of business to occupy the few seconds they were on
stage.

The possibilities seemed endless! For backstage at
the studio, Two Stagehands merely carried a ladder.
An actor in an elaborate cowboy outfit walked by
studying his "lines" from a script. A nosy
Photographer got thrown out by Studio Security, etc.

It was a great technique and could easily apply to
any production! I plan to steal it myself someday.