How set designer Sean Riley paid homage to Robert Wilson without copying him.
How lighting designer David Lee Cuthbert used light to transport audiences to a small South American village.
At Intrepid Theatre, costumes for Suzan-Lori Parks’s Civil War-set take on ‘The Odyssey’ evoke both the past and the present.
How sound designer Stowe Nelson filled the silence in a play that had almost no dialogue.
Scenic designer Andrew Boyce took inspiration from comic strips for the design of a musical about Japanese immigrants in San Francisco.
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.
For the Seattle Rep run, the design team turned the immersive show into one that can play in a proscenium.
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.
Puppet designer Blair Thomas explains how he created talking puppets for the Lookingglass Theatre production.
Paloma Young discusses blending Imperial Russia with modern punk in her costumes for the genre-spanning musical.