An early sketch from Kinky Boots blocks out the shape of the factory walls.
Stagecraft is a kind of laboratory for our ideas.
It’s a chance to collaborate intensely in real-time—something that’s not always easy to replicate in architecture projects.
A giant transformer.
For the 2016 Tony Award-winning She Loves Me set, David Rockwell made a jewel-box parfumerie appear as a single unit, when really it is composed of nestled walls that open sequentially.
Each of the parfumerie's four walls operates on a separate track.
Reinvention is an important part of the process. Restaging a production, such as You Can't Take it With You, calls for an element of surprise, while maintaining the integrity of the original show.
In YOU CANT TAKE IT WITH YOU, transitions come to life on a giant rotating turntable.
It’s the art of suggestion in three dimensions.
The space of the action is defined by the hovering abstract grid of the newsroom ceiling.
Overall the set is very minimal, allowing for many variations in scene.
A rendering of the final look of one of the many newsrooms depicted.
The ceiling serves both to compress the space and provide a projection surface for imagery.
In Lucky Guy, fragments of scenery and furniture are assembled onstage by the cast. These elements define key aspects of the scene—the audience fills in the rest.