In this two-part blog, I’m going to focus not on the play itself, but on the set. Why? Because quite simply the set is astonishing! If you’ve been keeping up with our blogs, you already know that our current production Ghosts is set in the early 1880’s, that it was written by Norwegian playwright Henrik Isben and that though it is a revered classic today, it was considered absolutely scandalous in its time. The exposed secrets and immoralities conflicted with society’s moral taboos. If you’d like to learn more about the history of the play, the storyline, the characters or director, please peruse our recent posts. Scenic Design: Rich Preffer In the meantime, let’s take a look at the set. The set design, by Rich Preffer, captures the essence of the play. The mood. The character. The unsaid meanings and implications. The set itself includes a cage like structure, including a canopy structure, which encompasses the entire set. Looking at the set, you at once feel both the sense of h...
Guest Blogger: Liz Beck, Senior RMU I adore musicals. Brittany Graham, Gavan Pamer - Photo: Heather Mull I love Les Miserables. I have Joseph and the Amazing Technicolor Dreamcoat committed to memory. I know every word of every song from The Lion King. Please, don’t ask me what my favorite soundtrack is—even though it’s probably Evita—because I won’t be able to choose. Musicals provide us with wish fulfillment that’s unmatched by stage plays. There’s just something so damn satisfying about watching people break out into song and dance choreographed routines, and as a rather cynical person, I truly enjoy the happy, shiny endings musicals offer. Since I love musicals, it makes sense that I loved T he Musical of Musicals (The Musical), the latest venture at Off the Wall Productions . The show takes the basic plot of a gullible woman who owes rent to her crook of a landlord and retells it in the styl...
John Steffenauer & Erika Cuenca - Photo by Heather Mull What would a play about two lesbians in an almost-love relationship be without a good looking man? In comes Doug. Is Rebecca, who is not ready to come out of the closet, not even to please her lover O, really a lesbian? Is Doug the man who commands an answer? Although Doug’s entrance occurs near the end of the play and only for a single scene, it is a scene you won’t soon forget. In a review by Dave Zuchowski via his Owlscribe blog , Dave focuses in on Doug’s character, stating “John Steffenauer as Doug, Rebecca’s bar encounter, is also a strong presence in a diminutive role…” Dave also gives credit to the sound designer, Ryan McMasters, for doing a “great job incorporating Hitler speeches in the sound tract that evokes the mood of Nazi Germany along with snippets of beautiful singing from Mozart’s opera, "The Magic Flute," as well as some captivating music in the bar scene I’d like to ...
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