Set Design

much tl thamovments, that what I was doing with the actors was redunA tom tt athl10tr reangof the lines was not correct. I was working with s mW#*#te @aOf the Euwpides text then, but I felt I had to make It mtheatI d8 1ewroe it myself.It's better too for the *break. Ivo saidmany times if I make a drawing one night I .may n el this Is the greatest drawing I've ever done, or the worst one o.fhatmw, butItook atit the next morning and I see It differently. But if I Ift with it for some time, I know more about it, whether I really like It or on'tlke It, andit's the same with the work. I would like to come back and dothisthree yots from now. Continue working on it.There are some things that am not ghdtf that I cantget right now, but we make plays for an audio . ad we'r9 going to have a dialogue with the audience. That's what was ktnam ting aboutBalsn$hne,having things In repertory.He soldonce, ,6ho e long enough, maybe I'llget It." He was fortunate to have a reperImy smtion. TOM KAMM, SET DESIGN It's really Bob's conceptual world that everybody is dealing in. Many times he will say what should be on stage, but he doesn't know exactly what that is or even what It looks like. That's where I enter. Last summer when we did the workshop here, his first words about the show were that there's a mountain at the back of the stage and a river that runs through the middle of the stage. He and Jennifer and I had two meetings before I came up here, so I already knew this. And he knew at the end of the show that there would be a laser cutting the eye out of the mountain, that was the finale of the show. That really will be quite spectacular. And then as we got into the rehearsal process there were things that we researched. There's one book in particular, Discovery of Lost Worlds, that has archeological artifacts from all different cultures. So we were trying to bring in a multi-cultural, historical approach, Instead of limiting it just to Greece or China or whatever. We embedded in the mountain all these archeological remains. Tlw cared p.o ofa tenth-centucA.ng uhip, o f . ... i.. t- leI....1A. Onobog, Noua~.thyrd -t-n8yy,sf 1, 87 MODEL OF SET Tom Kamm The idea that evolved in the workshop was that we are moving through time. We are moving in the very distant past, up through time to the present and into the future. And not in any specific linear way in the show, but in the motifs that happen all over. So that the periods are standing side by side with each other. For instance, the trees-columns-smokestacks trace a line through the show, temporally. The trees are something that's natural, you could even think that they were there before man. The columns were early man or ancient man, and smokestacks are industrial man of the modern age. They crack and break and in the end we see a future city. I don't think the vision is that hopeful. It's enigmatic more than anything, and the play is that way to me, too. There are all of these things that sit side by side and they don't resolve themselves really. But anyway, the moving through time and the changing of these elements, is something that Bob came up with. But for instance we didn't know at the end of last summer what the floor was going to be and I came up with the idea of doing the same kind of movement in time in the floor that happens In these changing elements. So that at the back of the stage we have a mountain with archeological relics in it, then on the floor right In front of It Is just dirt and grass, which would be like the trees. Then it goes into stone and tile...