New York-based scenic designer Kimie Nishikawa, who was nominated for a 2024 Tony for best scenic design of a play for An Enemy of the People as part of the design collective dots, also played her part in dots’s design for the world premiere of the musical A Wrinkle in Time at Arena Stage (through July 20).

What originally got you interested in scenic design?

The dioramas in the Natural History Museum that my father took me to as a child.

When you first sit down with a new script and new project, where do you start? Are there certain things you’re looking for?

On my first read, I really try not to think about how the script will become a production. I try to be sensitive to the mood of the piece and trust my intuition. I love research, so I will dive into historical, geographical, contextual primary research. Even if the design ends up somewhere abstract, it’s important for me to start the process grounded in the real world. I think of myself as a detective, trying to figure out the clues to solve the problem, which is the script.

What advice would you give early-career or aspiring designers about collaborating with other designers?

Always listen, don’t be precious about ideas, and find the people that you can have honest and fun collaborations with.

What is a past design that you like to hang your hat on?

The production of Tin Cat Shoes by Trish Harnetiaux, directed by Knud Adams, that was produced at Clubbed Thumb in 2018. It was a very challenging show where the set had to do multiple things with very little money and space. I’m proud of the team that came together to make something very special where confinements became strengths. I think one of our jobs as designers is to find joy in limitations and transform that into possibilities. I still hold on to that whenever I come across constraints.

If you could change one thing about the theatre, what would it be?

This isn’t about theatre as a form, but the affordability of theatre needs to change in the United States. Theatre needs to be more accessible. I’m conflicted by the prices on Broadway going up, because people want to be in the same room as film stars, and at the same time, it’s the first time we had a proper wage when working on those kinds of shows. The finances of nonprofit theatre are heavily reliant on the unpaid labor of those who care, which is very harmful.

Craziest thing you’ve ever done or seen on a stage? 

I’m not sure if it’s the craziest, but the most breathtaking show I’ve seen is Zingaro’s Battuta. You walk into the theatre and a herd of horses are calmly standing around in a dim light. A central waterfall illuminates their shiny rumps. I love horses, if you couldn’t tell.

Shoot your shot. What artist or company are you dreaming of working with?

I would love to work with Enda Walsh.

What’s a recent moment that reminded you why you choose to do theatre?

I was sitting in the theatre with my partners at dots, Andrew Moerdyk and Santiago Orjuela-Laverde, and we were trying to solve a seemingly impossible issue. We were hashing it out, sketching, joking, and having fun even in the most challenging times. Times like those are precious to me because it reminds me that I’m in theatre because of the people. We work in such an amazing industry, where our colleagues become lifelong friends and partners. The work itself is important, of course. But to me, the relationships that are born from the work are more important.