Why Put These 2 Plays Together? Sound Reasons
At New Georges, ‘Sound House’ and ‘This Is the Color Described by the Time’ are linked in repertory by their audience-enveloping sound design.
By Design
‘Black Rider’ Rides Again
How set designer Sean Riley paid homage to Robert Wilson without copying him.
In ‘The River Bride,’ Using Light to Create the Amazon
How lighting designer David Lee Cuthbert used light to transport audiences to a small South American village.
Shades of Gray in ‘Father Comes Home From the Wars’
At Intrepid Theatre, costumes for Suzan-Lori Parks’s Civil War-set take on ‘The Odyssey’ evoke both the past and the present.
The Silence and Noise of ‘Small Mouth Sounds’
How sound designer Stowe Nelson filled the silence in a play that had almost no dialogue.
‘Four Immigrants’: From Manga to Musical
Scenic designer Andrew Boyce took inspiration from comic strips for the design of a musical about Japanese immigrants in San Francisco.
‘Peerless’ Turns a Library Into a Theatre
Lighting designer Emmett H. Buhmann explains how he lit a lecture hall so that it looks like a theatre for Company One’s new production.
Remixing the Set of ‘Here Lies Love’
For the Seattle Rep run, the design team turned the immersive show into one that can play in a proscenium.
‘Orange’ Colors In the Spectrum
The set and projection design for Aditi Brennan Kapil’s play is meant to evoke the inner life of a girl on the autism spectrum.
Big Bad Boar: A Puppet Comes to Life in ‘Mr. and Mrs. Pennyworth’
Puppet designer Blair Thomas explains how he created talking puppets for the Lookingglass Theatre production.