At New Georges, ‘Sound House’ and ‘This Is the Color Described by the Time’ are linked in repertory by their audience-enveloping sound design.
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.