Cabaret as an Alcoholic Beverage
Last year, Sean Murray asked me to work with him on Sweeney Todd. It was our seventh production together. Working with Sean and co-director James Vasquez was
possibly the most freeing experience that can be asked of a designer for a musical theatre setting: we threw out all preconceived notions of the staging, we started from scratch and found our own voices in the piece.
And I discovered that doing a musical on a thrust stage means that, despite the amount of decorative flourishes I may apply to a setting, my eye always becomes inexorably riveted to the performer. Out there on that thrust surrounded on three sides by a rapt audience, and commanding a story. In one breathless moment, I can forget about everything I’ve been hired or trained to do as a designer, as I sit back and watch energy flow. Continue reading