Brian Yorkey - playwright
Mar 30, 2014 - Mar 22, 2015 Richard Rodgers Theatre
National Tour (October 13, 2015 - August 14, 2016)
Aug 9, 2016 - Aug 14, 2016 Fox Theatre Atlanta, GA
Aug 3, 2016 - Aug 7, 2016 Bushnell Hartford, CT
Jul 26, 2016 - Jul 31, 2016 Starlight Theatre Kansas City, MO
Jul 19, 2016 - Jul 24, 2016 Belk Theater Charlotte, NC
Jul 5, 2016 - Jul 17, 2016 Opera House (MA) Boston, MA
Jun 21, 2016 - Jun 26, 2016 Academy Of Music: Kimmel Center Philadelphia, PA
Jun 14, 2016 - Jun 19, 2016 Providence Performing Arts Center Providence, RI
Jun 7, 2016 - Jun 12, 2016 Andrew Jackson Hall At Tennessee Performing Arts Center Nashville, TN
May 24, 2016 - May 29, 2016 Durham Performing Arts Center Durham, NC
May 17, 2016 - May 22, 2016 David A. Straz, Jr. Center for the Performing Arts Tampa, FL
Apr 12, 2016 - May 8, 2016 Princess Of Wales Toronto, ON
Mar 29, 2016 - Apr 10, 2016 Fisher Theatre Detroit, MI
Mar 15, 2016 - Mar 27, 2016 Fox Theatre - St. Louis St. Louis, MO
Mar 8, 2016 - Mar 13, 2016 Orpheum Theatre - Minneapolis Minneapolis, MN
Feb 23, 2016 - Mar 6, 2016 Oriental Theatre Chicago, IL
Feb 9, 2016 - Feb 21, 2016 Connor Palace Cleveland, OH
Feb 2, 2016 - Feb 7, 2016 Aronoff Center For The Arts: Procter & Gamble Hall Cincinnati, OH
Jan 27, 2016 - Jan 31, 2016 AT&T Performing Arts Center Dallas, TX
Jan 19, 2016 - Jan 24, 2016 Segerstrom Center for the Arts Costa Mesa, CA
Jan 12, 2016 - Jan 17, 2016 ASU Gammage Tempe, AZ
Jan 5, 2016 - Jan 10, 2016 San Diego Civic Theatre San Diego, CA
Dec 8, 2015 - Jan 3, 2016 Pantages Theatre - Los Angeles Los Angeles, CA
Nov 10, 2015 - Dec 6, 2015 Orpheum Theatre - San Francisco San Francisco, CA
Nov 3, 2015 - Nov 8, 2015 Paramount Theatre Seattle, WA
Oct 13, 2015 - Oct 25, 2015 Buell Theatre Denver, CO
Cast & Production Staff
The intention of all design choices should be to invoke the audience with the question of was that surelistic?
- The musical score will be produced as written, though band elements will be emphasized over the orchestra. (Drums, Guitar, Bass) This is solely to keep the perspective of the musical modern and up to date.
- 5.2 channel surround sound mixing will be used to emphasize the musical elements in the pit.
- Upstage Structural Concept: I want to use steel structures similar to photo 1/2/6 that resemble New York City buildings. These scriptures should be three dimensional, not flat, so that shadowplay can be used extensively in the lighting design to inform passage of time/time of day. Some structures will be wrapped in a light colored scrim that will serve as a projection/cyc surface, similar to photo 3. Layering behind that will be a cyc wall with separate lighting and projection systems. There will be the option for actors to walk on an elevated level up around the buildings resembled in photos 1/6. This can populate the space with out cluttering it, reference photo 4. The 5th photo serves as a color scheme reference.
- Lineset Usage: Most set properties will be flown. These include a subway station structure, bedroom walls, street signs, office walls, greenery, hospital walls, and classroom walls. Due to the extensive number of flown set pieces, the point at which intermission takes place may be reconsidered so that scenery can shift in the flies. This decision points back to the main concept of the design emphasizing surrealism.
- Automation: Set properties that are not flown will be self automated. These include a subway car, bedroom set, bar with stools, and hospital materials. These things will be on black platforms.
- Stage Floor: The stage floor will be painted in dark color with a watery drip tequnique. It should be believable in a way that it resembles all environments the musical takes place in. There will be a projection system for the floor. The floor should be glossed, but not so much that projections get reflected.
- All elements should feature artistic interpretation over realism.
- The lighting design will be used to inform and remind the audience of what character they are following, time of day, and emotional state.
- Some line sets will be used for string lights possibley indicating a sense or romance.
- Lighting fixtures should be visible like in the images shown. This will further emphasize a false realism and also drive the modern feel.
- The design should produce even clean light in all areas of the stage, color pallet should complement that of the scenic design.
- Lighting Design should include a key day system, key night system, fill day system, fill night system, neutral top light system, deck level dance system, front fill system, and high upstage corner system. Some lights in each system should be movers.
- Key day system: L152, Fill Day System: L279, Night Day System: L144, Night Fill System: L117, Top Light System: L244, Deck Level Dance System: L148 L002, Corner System: L325 L735, Fromt Fill System: L728
- Use of the three projection systems listed above should not be the emphasis at any point there is action on stage. It should only be noticeable during shifts, and add to the environment during scenes. Moving picture and stills should be incorporated into the design.
- When it is possible to put into picture an image better than what would be in the mind of an audience member, a media item should be used to flash back to a point in time that is influencing a decision that character is making now. This design has by far the most creative liberty.
- Possibilities include Elizabeth living back in Phoenix, Lucas and Elizabeth in college, Kate in her classroom teaching, Josh at his military base, and/or flash backs to the given relationship when getting married or divorced.
- Since there are so many surfaces it can be explored that a single surface is assovciated with a character or not.