A rose by any other name
Yes, it is here. The culmination of an entire semester's sleepless effort. By far my largest scenic design to date, it now stands ready to go on the stage of the Mendelssohn Theater. And the show that is about to occur upon it comes highly recommended.
Yeah sure, it's Romeo and Juliet. Perhaps you've seen it played to death, or perhaps it remains your immortal favorite. Either way, this one's worth coming to.
We set it in a 1930s Fascist Verona, not just for kicks, but because we thought it would heighten the danger and give the youth of the show an even stricter authority to rebel against. It comes complete with soccer balls and Mercutio on a bicycle, and the fighting is of a quality one doesn't get to see often on any stage. And yes, it involves the bicycle.
A person who's been intimate with this script before will realize our director has done a unique thing to it -- the Chorus maintains her presence throughout the entirety of the show, interjecting at times an entire Shakespeare sonnet that is surprisingly effective and not the least out of place. The actors are the best one can find in our department, and the scenery (I'll admit to it) is pretty swell.
So there's my plug. It saddens me that C. Lee Ralston cannot accept her invitation, because I wanted her to see this one more than any other, but I hope many of you can (Thorn, Ryan, Brodie . . . this means you!). I was drafting the front elevations for this design when Thorn called to tell me my mentor had died. I wish she could see what she's responsible for . . .
It's this weekend at the Mendelssohn. Just in time for bloody Valentines Day I know. We didn't do that on purpose.
Yeah sure, it's Romeo and Juliet. Perhaps you've seen it played to death, or perhaps it remains your immortal favorite. Either way, this one's worth coming to.
We set it in a 1930s Fascist Verona, not just for kicks, but because we thought it would heighten the danger and give the youth of the show an even stricter authority to rebel against. It comes complete with soccer balls and Mercutio on a bicycle, and the fighting is of a quality one doesn't get to see often on any stage. And yes, it involves the bicycle.
A person who's been intimate with this script before will realize our director has done a unique thing to it -- the Chorus maintains her presence throughout the entirety of the show, interjecting at times an entire Shakespeare sonnet that is surprisingly effective and not the least out of place. The actors are the best one can find in our department, and the scenery (I'll admit to it) is pretty swell.
So there's my plug. It saddens me that C. Lee Ralston cannot accept her invitation, because I wanted her to see this one more than any other, but I hope many of you can (Thorn, Ryan, Brodie . . . this means you!). I was drafting the front elevations for this design when Thorn called to tell me my mentor had died. I wish she could see what she's responsible for . . .
It's this weekend at the Mendelssohn. Just in time for bloody Valentines Day I know. We didn't do that on purpose.